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LONDON, LONDRES / ROYAL ALBERT HALL II (28/12/2016)

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El Royal Albert Hall es una sala de conciertos en Londres. Inaugurado el 29 de marzo de 1871, es uno de los teatros más emblemáticos del mundo y una de las construcciones más distintivas del Reino Unido. Está ubicado en Albertopolis, en el extremo norte del área de South Kensington, en la ciudad de Westminster.

El Royal Albert Hall fue construido para cumplir la visión del príncipe Alberto, consorte de la reina Victoria, de un "Salón Central" que fuera utilizado para promover las artes y las ciencias en South Kensington, rodeado de museos y centros de aprendizaje.1

Iba a llamarse The Central Hall of Arts and Sciences, pero se lo renombró Royal Albert Hall of Arts and Sciences por decisión de Victoria, en memoria de su esposo.

En 1851, con motivo de la Gran Exposición en Hyde Park (Londres), se construyó el The Crystal Palace. La exposición tuvo un gran éxito y esto hizo que el príncipe Alberto propusiera la construcción de una serie de instalaciones permanentes para la cultura y educación de la gente.

La propuesta fue aprobada y el sitio fue comprado con una parte de los beneficios recaudados en la exposición. En abril de 1867 la reina Victoria firmó la «Royal Charter of the Corporation of the Hall of Arts and Sciences» para poder iniciar la construcción y operación del teatro y el 20 de mayo se colocó la primera piedra. Sin embargo, el progreso del proyecto fue muy lento y, en 1861, Alberto murió sin poder ver realizadas sus ideas. No obstante, se propuso la construcción de un monumento en su memoria, el Albert Memorial, orientado hacia el Royal Albert Hall.

La ceremonia oficial de inauguración fue el 29 de marzo de 1871. El discurso de bienvenida estuvo a cargo de Eduardo, Príncipe de Gales. Aunque Victoria no dio un discurso, sí comentó que el edificio le recordaba a la Constitución Británica.

El Royal Albert Hall, monumento clasificado de Grado 1, fue diseñado por los ingenieros civiles Francis Fowke y Henry Young Darracott Scott, de la Royal Engineers, y construido por los hermanos contratistas Thomas y Charles Lucas.3 Los diseñadores estuvieron fuertemente influenciados por la forma de los antiguos anfiteatros, así como también por las ideas de Gottfried Semper, mientras él trabajaba en el South Kensington Museum.

Para su construcción se emplearon ladrillos rojos de Fareham, con bloques de decoración hechos de terracota, fabricados por Gibbs and Canning Limited. Tiene un tamaño de 83 metros (eje mayor) por 72 metros (eje menor) y una forma elíptica. El domo, diseñado por el ingeniero Rowland Mason Ordish, está hecho de cristal y acero forjado, se encuentra a 41 metros de altura en el techo. Originalmente, el teatro fue diseñado para poder albergar 8000 personas, capacidad que ha sido aumentada hasta 9000, aunque las medidas de seguridad actuales han restringido la capacidad máxima permitida, lo que permite un cupo de 5544, incluyendo gente de pie en la Galería.

Desde su inauguración, han pasado por su escenario artistas reconocidos internacionalmente, de música clásica hasta bandas de rock. Ha sido sede de galas benéficas, entregas de premios, banquetes, conferencias, eventos públicos y torneos de tenis. Se llevaron a cabo las graduaciones del Imperial College, acogió el Festival de Eurovisión 1968, el primero transmitido en color, y albergó a celebridades como Creedence Clearwater Revival, John Fogerty, Lady Gaga, Cream, Tony Bennett, Glen Hansard, Laura Pausini, Paul McCartney, Elton John, Slash, B.B. King, David Bisbal, Yanni, bond, Eric Clapton, Mark Knopfler, George Harrison, David Gilmour, Deep Purple, Bob Dylan, Led Zeppelin, Rod Stewart, Camel, Sting, Eric Idle, Michael Palin, Terry Jones, Terry Gilliam, Umberto Tozzi, Jack Bruce, Jimmy Page, Robert Plant, Sarah Brightman, Julio Iglesias, Mick Jagger, Muse, Frank Sinatra, Phil Collins, Pete Townshend, The Corrs, Robbie Williams, The Last Shadow Puppets, Arctic Monkeys, Enrique Iglesias, Noel Gallagher, Depeche Mode, Snow Patrol, The Stranglers, The Killers, Jake Bugg, Porcupine Tree, Coldplay y, recientemente Steven Wilson, Opeth, Emeli Sandé, Adele, Florence and the Machine, Mystery Jets, Foals, Bring Me The Horizon , McFly y Juan Luis Guerra.

El Royal Albert Hall es la sede de The BBC Proms, el mayor festival mundial de música clásica que se realiza anualmente durante el verano, con una duración de ocho semanas y con un maratón de solistas, coros y orquestas transmitido a todo el mundo por la BBC.6 Por los Proms han pasado importantes figuras de la música clásica como Adrian Boult, Malcom Sargent, Colin Davis, Georg Solti, Evgeny Kissin, Joshua Bell, John Williams (guitarrista), Luciano Pavarotti, Jessye Norman, Plácido Domingo, Sarah Brightman, Renée Fleming, Bryn Terfel y Simon Rattle, entre otros.

La tradicional última noche de los Proms es uno de los hitos del verano londinense. Es un show que reúne multitudes dentro del hall y en Hyde Park y otros parques en otros lugares del Reino Unido. El último concierto del festival (a menudo la Novena Sinfonía de Beethoven) finaliza con bises de clásicos la cultura victoriana como Pompa y circunstancia de Sir Edward Elgar, Land of Hope and Glory, Rule Britannia, Jerusalem y God Save the Queen.

El Cirque du Soleil ha realizado numerosas presentaciones en este teatro desde 1996, con el espectáculo Saltimbanco, que se presentó hasta 1997. En 1998 y 1999, presentaron Alegría. En 2003 se presentan nuevamente con Saltimbanco. En 2004 y 2005 montaron el espectáculo Dralion. En 2006 y 2007 se dio el regreso de Alegría, mientras que en el 2008, realizaron la premiere de Varekai, espectáculo con el que regresaron en 2010, con motivo de la celebración de los 25 años de la compañía. En 2011 y 2012 se presentaron con Totem. En 2013 estarán presentando Kooza.

Desde 1998, el English National Ballet se ha presentado en numerosas temporadas en sociedad con el teatro y Raymond Gubbay con, entre otros, La bella durmiente (2000), Romeo y Julieta (2001 y 2005), El lago de los cisnes (2002, 2004, 2007 y 2010) y Strictly Gershwin (2008 y 2011).

The Festival of Remembrance de la Royal British Legion se celebra anualmente, un día antes del Rembrance Sunday, fecha en la que se recuerda a todos aquellos que han perdido la vida en conflictos bélicos.

Teenage Cancer Trust

Desde el año 2000, el Teenage Cancer Trust ha celebrado anualmente conciertos de caridad. Iniciaron como un evento sencillo, pero a través de los años se han ido expandiendo hasta presentar una semana o más de presentaciones.

Roger Daltrey, vocalista de The Who, ha estado profundamente envuelto en la realización de los conciertos para este evento.

Ceremonias de graduación

El teatro es usado anualmente por el Royal College of Art y el Imperial College London para sus ceremonias de graduación.

La Kingston University celebró también sus ceremonias de graduación hasta 2008, año en que cambió de sede al nuevo Rose Theatre, Kingston.

es.wikipedia.org/wiki/Royal_Albert_Hall

The Royal Albert Hall is a concert hall on the northern edge of South Kensington, London, which holds the Proms concerts annually each summer since 1941. It has a capacity of up to 5,272 seats. The Hall is a registered charity held in trust for the nation and receives no public or government funding.[1]

Since its opening by Queen Victoria in 1871, the world’s leading artists from many performance genres have appeared on its stage and it has become one of the UK’s most treasured and distinctive buildings. The location of some of the most notable events in British culture, each year it hosts more than 390 shows in the main auditorium, including classical, rock and pop concerts, ballet, opera, film screenings with live orchestra, sports, award ceremonies, school and community events, charity performances and banquets. A further 400 events are held each year in the non-auditorium spaces.

The Hall was originally supposed to have been called the Central Hall of Arts and Sciences, but the name was changed to the Royal Albert Hall of Arts and Sciences by Queen Victoria upon laying the Hall’s foundation stone in 1867, in memory of her husband consort, Prince Albert who had died six years earlier. It forms the practical part of a memorial to the Prince Consort – the decorative part is the Albert Memorial directly to the north in Kensington Gardens, now separated from the Hall by Kensington Gore.

he Hall, a Grade I listed building,[22] is an ellipse in plan, with major and minor axes of 83 m (272 ft) and 72 m (236 ft). The great glass and wrought-iron dome roofing the Hall is 41 m (135 ft) high. It was originally designed with a capacity for 8,000 people and has accommodated as many as 9,000 (although modern safety restrictions mean that the maximum permitted capacity is now 5,544 including standing in the Gallery).

Around the outside of the building is a great mosaic frieze, depicting "The Triumph of Arts and Sciences", in reference to the Hall’s dedication. Proceeding anti-clockwise from the north side the sixteen subjects of the frieze are: (1) Various Countries of the World bringing in their Offerings to the Exhibition of 1851; (2) Music; (3) Sculpture; (4) Painting; (5) Princes, Art Patrons and Artists; (6) Workers in Stone; (7) Workers in Wood and Brick; (8) Architecture; (9) The Infancy of the Arts and Sciences; (10) Agriculture; (11) Horticulture and Land Surveying; (12) Astronomy and Navigation; (13) A Group of Philosophers, Sages and Students; (14) Engineering; (15) The Mechanical Powers; and (16) Pottery and Glassmaking.

Above the frieze is an inscription in 12-inch-high (300 mm) terracotta letters that combines historical fact and Biblical quotations: "This hall was erected for the advancement of the arts and sciences and works of industry of all nations in fulfilment of the intention of Albert Prince Consort. The site was purchased with the proceeds of the Great Exhibition of the year MDCCCLI. The first stone of the Hall was laid by Her Majesty Queen Victoria on the twentieth day of May MDCCCLXVII and it was opened by Her Majesty the Twenty Ninth of March in the year MDCCCLXXI. Thine O Lord is the greatness and the power and the glory and the victory and the majesty. For all that is in the heaven and in the earth is Thine. The wise and their works are in the hand of God. Glory be to God on high and on earth peace."

Below the Arena floor there are two 4000 gallon water tanks, which are used for shows that flood the arena like Madam Butterfly.

The Hall has been affectionately titled "The Nation’s Village Hall".[24] The first concert was Arthur Sullivan’s cantata On Shore and Sea, performed on 1 May 1871.[25][26]

Many events are promoted by the Hall, whilst since the early 1970s promoter Raymond Gubbay has brought a range of events to the Hall including opera, ballet and classical music. Some events include classical and rock concerts, conferences, banquets, ballroom dancing, poetry recitals, educational talks, motor shows, ballet, opera, film screenings and circus shows. It has hosted many sporting events, including boxing, squash, table tennis, basketball, wrestling including the first Sumo wrestling tournament to be held in London as well as UFC 38 (the first UFC event to be held in the UK), tennis and even a marathon.[27][28]

On 6 April 1968, the Hall was the host venue for the Eurovision Song Contest which was broadcast in colour for the first time.[29] One notable event was a Pink Floyd concert held 26 June 1969, the night they were banned from ever playing at the Hall again after shooting cannons, nailing things to the stage, and having a man in a gorilla suit roam the audience. At one point Rick Wright went to the pipe organ and began to play "The End Of The Beginning", the final part of "Saucerful Of Secrets", joined by the brass section of the Royal Philharmonic Orchestra (led by the conductor, Norman Smith) and the ladies of the Ealing Central Amateur Choir.[30] A portion of the pipe organ recording is included on Pink Floyd’s album The Endless River.[31]

On 30 June 2 and 3 July 2011, Janet Jackson brought her Number Ones, Up Close and Personal Tour here, These were her first headlining UK shows in 13 years.

Kylie Minogue performed a show here on 11 December 2015, to promote Kylie Christmas, her first Christmas album and thirteenth studio album. She will return with two more shows on 9 & 10 December 2016.

Benefit concerts in include the 1997 Music for Montserrat concert, arranged and produced by George Martin, an event which featured artists such as Phil Collins, Mark Knopfler, Sting, Elton John, Eric Clapton and Paul McCartney,[32] and 2012 Sunflower Jam charity concert with Queen guitarist Brian May performing alongside bassist John Paul Jones of Led Zeppelin, drummer Ian Paice of Deep Purple, and vocalists Bruce Dickinson of Iron Maiden and Alice Cooper.[33]

On 2 October 2011, the Hall staged the 25th anniversary performance of Andrew Lloyd Webber’s The Phantom of the Opera, which was broadcast live to cinemas across the world and filmed for DVD.[34] Lloyd Webber, the original London cast including Sarah Brightman and Michael Crawford, and four previous actors of the titular character, among others, were in attendance – Brightman and the previous Phantoms (aside from Crawford) performed an encore.

On 24 September 2012, Classic FM celebrated the 20th anniversary of their launch with a concert at the Hall. The programme featured live performances of works by Handel, Puccini, Rachmaninoff, Parry, Vaughan Williams, Tchaikovsky and Karl Jenkins who conducted his piece The Benedictus from The Armed Man in person.[35]

On 19 November 2012, the Hall hosted the 100th anniversary performance of the Royal Variety Performance, attended by the Queen and Prince Philip, with boyband One Direction among the performers.[36]

Between 1996 and 2008, the Hall hosted the annual National Television Awards all of which were hosted by Sir Trevor McDonald. Regular events Royal Choral Society The Royal Choral Society is the longest running regular performance at the Hall, having given its first performance as the Royal Albert Hall Choral Society on 8 May 1872. From 1878 it established the annual Good Friday performance of Handel’s Messiah.

The BBC Promenade Concerts, known as "The Proms", is a popular annual eight-week summer season of daily classical music concerts and other events at the Hall. In 1942, following the destruction of the Queen’s Hall in an air raid, the Hall was chosen as the new venue for the proms.[37] In 1944 with increased danger to the Hall, part of the proms were held in the Bedford Corn Exchange. Following the end of World War II the proms continued in the Hall and have done so annually every summer since. The event was founded in 1895, and now each season consists of over 70 concerts, in addition to a series of events at other venues across the United Kingdom on the last night. In 2009, the total number of concerts reached 100 for the first time. Jiří Bělohlávek described The Proms as "the world’s largest and most democratic musical festival" of all such events in the world of classical music festivals.[38]

Proms (short for promenade concerts) is a term which arose from the original practice of the audience promenading, or strolling, in some areas during the concert. Proms concert-goers, particularly those who stand, are sometimes described as "Promenaders", but are most commonly referred to as "Prommers".[39] Tennis

Tennis was first played at the Hall in March 1970 and the ATP Champions Tour Masters has been played annually every December since 1997. Classical Spectacular

Classical Spectacular, a Raymond Gubbay production, has been coming to the Hall since 1988. It combines classical music, lights and special effects. Cirque du Soleil

Cirque du Soleil has performed several of its shows at the Hall beginning in 1996 with Saltimbanco, a show which returned in 1997. In 1998 they had their UK première of Alegría and returned in 1999. After a few years away they returned in 2003 with Saltimbanco. Their European première of Dralion was held at the Hall in 2004 and returned in 2005. 2006 and 2007 saw the return of Alegría whilst 2008 saw the UK première of Varekai, which returned in 2010 marking 25 years of Cirque du Soleil. Quidam returned to London (but a first for this show at the Hall) in 2009 and again in January 2014. In January and February 2011 and again in 2012 they presented Totem. From January–February 2013 and again from January–February 2015, the hall held performances of Koozå. Classic Brit Awards

Since 2000, the Classic Brit Awards has been hosted annually in May at the Hall. It is organised by the British Phonographic Industry. Festival of Remembrance

The Royal British Legion Festival of Remembrance is held annually the day before Remembrance Sunday.[40] Institute of Directors

For 60 years the Institute of Directors’ Annual Convention has been synonymous with the Hall, although in 2011 and 2012 it was held at indigO2. English National Ballet

Since 1998 the English National Ballet has had several specially staged arena summer seasons in partnership with the Hall and Raymond Gubbay. These include Strictly Gershwin, June 2008 and 2011, Swan Lake, June 2002, 2004, 2007, 2010 and 2013, Romeo & Juliet (Deane), June 2001 and 2005 and The Sleeping Beauty, April – June 2000.[41] Teenage Cancer Trust

Starting in the year 2000 the Teenage Cancer Trust has held annual charity concerts (with the exception of 2001). They started as a one off event but have expanded over the years to a week or more of evenings events. Roger Daltrey of the Who has been intimately involved with the planning of the events.[42] Graduation Ceremonies

The Hall is used annually by the neighbouring Imperial College London and the Royal College of Art for graduation ceremonies. Kingston University also held its graduation ceremonies at the Hall until 2008. Films, premières and live orchestra screenings

The venue has screened several films since the early silent days. It was the only London venue to show William Fox’s The Queen of Sheba in the 1920s.

The Hall has hosted many premières, including the UK première of Fritz Lang’s Die Nibelungen, 101 Dalmatians on 4 December 1996, the European première of Spandau Ballet’s Soul Boys of the Western World[43] and three James Bond royal world premières; Die Another Day on 18 November 2002 (attended by Queen Elizabeth II and Prince Philip), Skyfall on 23 October 2012 (attended by Charles, Prince of Wales and Camilla, Duchess of Cornwall)[44] and SPECTRE on 26 October 2015 (attended by Prince William, Duke of Cambridge and Catherine, Duchess of Cambridge).[45]

The Hall held its first 3D world première of Titanic 3D, on 27 March 2012, with James Cameron and Kate Winslet in attendance.[46]

The Hall has curated regular seasons of film-and-live-orchestra screenings since 2009, including the Lord of the Rings trilogy, Gladiator, Star Trek, Star Trek Into Darkness, Interstellar, The Matrix, West Side Story, Breakfast at Tiffany’s, Back to the Future and the world première of Titanic Live in Concert. Beyond the main stage

The Hall hosts hundreds of events and activities beyond its main auditorium. There are regular free art exhibitions in the ground floor amphi corridor, which can be viewed when attending events or on dedicated viewing dates. You can take a guided tour of the Hall on most days. The most common is the one-hour Grand Tour which includes most front-of-house areas, the auditorium, the gallery and the Royal Retiring Room. Other tours include Story of the Proms, Behind the Scenes, Inside Out and School tours. Children’s events include Storytelling and Music Sessions for 0 – 4 year olds which take place in the Door 9 Porch and Albert’s Band sessions in the Elgar Room during school holidays. "Live Music in Verdi" takes place in the Italian restaurant on a Friday night featuring different artists each week. "Late Night Jazz" events in the Elgar Room, generally on a Thursday night, feature cabaret style seating and a relaxed atmosphere with drinks available. "Classical Coffee Mornings" are held on Sundays in the Elgar Room with musicians from the Royal College of Music accompanied with drinks and pastries. Sunday brunch events take place in Verdi Italian restaurant and features different genres of music.[47] Regular performers

Eric Clapton is a regular performer at the Hall, it having played host to his concerts almost annually for over 20 years. In December 1964, Clapton made his first appearance at the Hall with the Yardbirds. It was also the venue for his band Cream’s farewell concerts in 1968 and reunion shows in 2005. He also instigated the Concert for George, which was held at the Hall on 29 November 2002 to pay tribute to Clapton’s lifelong friend, former Beatle George Harrison. Since 1964, Clapton has performed at the Hall almost 200 times, and has stated that performing at the venue is like "playing in my front room".[48][49]

David Gilmour played at the Hall in support of two solo albums, while also releasing a live concert on September 2006 entitled Remember That Night which was recorded during his three nights playing at the Hall for his 2006 On an Island tour. Notable guests were Robert Wyatt and David Bowie (who sang lead for "Arnold Layne" and "Comfortably Numb"). The live concert was televised by BBC One on 9 September 2007 and again on 25 May. Gilmour is set to return to the Hall; having previously played five nights in September 2015, to end his 34-day Rattle That Lock Tour on September 2016 by playing another four nights at the Hall. He will also make an appearance on 24 April 2016 as part of the Teenage Cancer Trust event.

Shirley Bassey has appeared many times at the Hall, usually as a special guest. In 2001, she sang "Happy Birthday" for the Duke of Edinburgh’s 80th birthday concert. In 2007, she sang at Fashion Rocks in aid of the Prince’s Trust. On 30 March 2011, she sang at a gala celebrating the 80th birthday of Mikhail Gorbachev.[50] In May 2011, she performed at the Classic Brit Awards, singing "Goldfinger" in tribute to the recently deceased composer John Barry.[51] On 20 June 2011, she returned and sang "Diamonds Are Forever" and "Goldfinger", accompanied by the Royal Philharmonic Orchestra, as the climax to the memorial concert for Barry.

James Last appeared 90 times at the Hall between 1973 and 2015, making him the most frequent non–British performer to have played the venue.[52] Education & Outreach

The Hall’s Education & Outreach programme engages 100,000 people a year. It includes workshops for local teenagers led by musicians such as Foals, Jake Bugg, Emeli Sandé, Nicola Benedetti, Alison Balsom and First Aid Kit, innovative science and maths lessons in partnership with Samsung, visits to local residential homes from the venue’s in-house group, Albert’s Band, under the ‘Songbook’ banner, and the Friendship Matinee: an orchestral concert for community groups, with £5 admission. Management The Hall is managed day to day by the chief executive Chris Cotton and five senior executives: the chief operating & financial officer, director of operations, director of business development, director of events and director of external affairs. They are accountable to the Council of the Corporation, which is the Trustee body of the charity. The Council is composed of the annually elected president, currently Mr Jon Moynihan OBE, 18 elected Members (either corporate or individual seat owners) and five Appointed Members, one each from Imperial College London, Royal Commission for the Exhibition of 1851, Department for Culture, Media and Sport, British Museum of Natural History and the Royal College of Music.

Pop culture references

A large mural by Sir Peter Blake is displayed in the amphi corridor of Door 12 at the Hall. Unveiled in April 2014, it shows more than 400 famous figures who have appeared on the stage.

In 1955, English film director Alfred Hitchcock filmed the climax of The Man Who Knew Too Much at the Hall.[63] The 15-minute sequence featured James Stewart, Doris Day and composer Bernard Herrmann, and was filmed partly in the Queen’s Box. Hitchcock was a long-time patron of the Hall and has already set the finale of his 1927 film, The Ring at the venue, as well as his initial version of The Man Who Knew Too Much, starring Leslie Banks, Edna Best and Peter Lorre.[64]

Other notable films shot at the Hall include Major Barbara, Love Story, The Seventh Veil, The Ipcress File, A Touch of Class, Shine and Spice World.

In the song "A Day in the Life" by the Beatles, the Albert Hall is mentioned. The verse goes as follows:

I read the news today, oh boy four thousand holes in Blackburn, Lancashire and though the holes were rather small they had to count them all now they know how many holes it takes to fill the Albert Hall I’d love to turn you on.

The song "Session Man" by the Kinks references the Hall:

He never will forget at all The day he played at Albert Hall.

In the song "Shame" by Robbie Williams and Gary Barlow, Gary mentions the Hall in his verse:

I read your mind and tried to call, my tears could fill the Albert Hall.

In some variants of "Hitler Has Only Got One Ball", Hitler’s second testicle is mentioned to be in the Hall.

en.wikipedia.org/wiki/Royal_Albert_Hall

Posted by Saúl Tuñon Loureda on 2016-12-29 11:37:46

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obtusemedia · 7 years ago

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In Ascending Order: Ranking Every Peak-Era (1980-2004) U2 Song

Few classic rock bands’ legacies have been as negatively impacted by their latter-day material as U2. Or at least that’s how it seems whenever the Irish four-piece release a new album: The knives (and snark) come out on Twitter and in critical reviews.

This always struck me as a little odd: Yeah, I’m not going to defend Songs of Experience or anything — their recent albums are legitimately bland and uninspired. But they’re also nearly 40 years into their recording career. The Rolling Stones lost their juice 15 years before that, and most other classic rock titans like The Beatles or Led Zeppelin or Guns n’ Roses simply broke up when they were still hot. The only classic rocker who stayed legitimately relevant in his old age is David Bowie, and even he was irrelevant for about 15-20 years before his final two comeback albums (maybe U2 can pull that off in a decade or two?).

So instead of focusing on U2′s diminishing returns, I want to celebrate their peak, starting with their energetic 1980 debut, Boy, up until the last album one could legitimately call a hit, 2004′s How To Dismantle an Atomic Bomb. This is a ranking of all 119 original album tracks from the 11 albums U2 released during this period. Here’s the ground rules:

1) No new tracks. The bottom of this list would be clogged with Songs of Experience and Songs of Innocence tracks otherwise (with a notable exception). It hurts to cut out No Line on the Horizon, which I’ve always found underrated, but it was a flop, and frankly, even its best songs wouldn’t crack the top 20. (Also, I’m not trying to make jokes about that forcing-songs-onto-your-phone debacle for half the list)

2) No covers or live (re-recorded) tracks. This only really applies to Rattle And Hum, which sprinkled in live recordings of previous U2 songs, as well as classic rock covers. I’m only counting the brand-new songs from that album. However, if it’s a new track that’s a live recording, it qualifies.

3) No EP tracks, side projects or stand-alone singles. This rule disqualifies anything from the Passengers album, Wide Awake in America, or any movie soundtrack tunes (or “A Celebration,” which I adore for how ridiculous the music video is).

#119: “Wild Honey” (All That You Can’t Leave Behind, 2000): Dear lord, is this saccharine. Corny hippie love songs are absolutely not a good fit for U2, and the band themselves seem over it. Also, pro tip: don’t compare yourself to a monkey.

#118: “One Step Closer” (How To Dismantle an Atomic Bomb, 2004): Unfortunately, it’s not a Linkin Park cover. In fact, it’s crazy boring.

#117: “Grace” (Leave Behind): Anyone who tries to tell you All That You Can’t Leave Behind is a top-tier U2 album clearly has only listened to the first half, because the second-half is quite uninspired. “Grace” tries to personify the titular attribute over a quiet soft-rock beat, and you’ll forget everything about it as soon as you listen to something else.

#116: “Love Rescue Me” (Rattle And Hum, 1988): Bob Dylan co-wrote and sings with Bono on this song. Unfortunately, it isn’t anywhere near “Like A Rolling Stone.” In fact, it’s six-and-a-half minutes of by-the-numbers bar blues that really makes clear why Rattle And Hum was considered a disappointment at the time.

#115: “Yahweh” (Atomic Bomb): I’m going to apologize now for the bottom of this list being mostly filler tracks from Atomic Bomb and Leave Behind, but I couldn’t help it. They both have their classics (we’ll get to those later), but when they’re bad — like in “Yahweh,” where Bono literally asks Jesus to kiss him on the mouth — they’re quite bad.

#114: “A Man And A Woman” (Atomic Bomb): Can someone let U2 know that they’re from Ireland and not Spain and they really can’t pull off this tired Latin-lover schtick?

#113: “The Playboy Mansion” (Pop, 1997): A lot of Pop reeks of its time period, but I don’t mind that for the most part. However, “Playboy Mansion” is dated in the worst way. It’s sleazy without being fun, like a half-drunk lounge singer mumbling at 3 a.m. in some upstate New York Holiday Inn about random pop culture references (Big Macs? Plastic surgery? O.J. Simpson?!). “Playboy” has aged very badly, and not in an entertaining way, unfortunately.

#112: “Is That All?” (October, 1981): There’s no songs on October, U2′s most forgotten album, that are outright garbage, but there are a few that are definitely pointless and meandering. This is one of them. “Is That All?” sounds like the record company needed one more song for the album, and the band just threw this together in 5 minutes.

#111: “Peace On Earth” (Leave Behind): The production is lifeless, but Bono’s lyrics actually have some bite to them. His moaning about the dire state of the world is a bit overwrought, but in an album full of rah-rah optimism, this is a nice change of pace.

#110: “4th of July” (The Unforgettable Fire, 1984): It’s an instrumental track. It does provide some nice atmospheric build-up for the classic song that immediately follows it, but on its own, “4th of July” is very skippable.

#109: “Crumbs From Your Table” (Atomic Bomb): “Crumbs” has a nice rock groove, but I think I’ll pass on the guilt trip. Yes, world hunger is a legitimate issue that Bono is noble for trying to fix, but instead of inspiring people to help here, he just gets bitter. Not for me. Although “Crumbs” does get one great line in: “Where you live should not decide/whether you live or whether you die.”

#108: “When I Look At The World” (Leave Behind): Decent production, but a forgettable tune and lyrics.

#107: “Red Light” (War, 1983): I’ve always felt that War would make a fabulous 8-song, super-short album. But nope, there’s two extra songs that are quite pointless, if not outright bad. “Red Light” is one of them. Bono gives the necessary energy, but there’s no hook. And the trumpet solo feels very out-of-place.

#106: “Stranger In A Strange Land” (October): This song is about immigration, but unfortunately, like most of the songs from October, the lyrics are too bare-boned to go too in-depth (Bono infamously lost his lyric book in Portland, Ore. right before they were set to record...oops).

#105: “Surrender” (War): This is the other song that should’ve been kept off War. It also lacks a good hook or interesting lyrics, but the verse melody is halfway-decent, so it goes a couple spots over “Red Light.”

#104: “Another Time Another Place” (Boy, 1980): Boy is a sneaky-good debut album from a band that’s mostly remembered for their mid-period years in the late-’80s and early-’90s. I’ve always felt their unpolished early albums never got the love they deserved. Unfortunately, “Another Time Another Place” doesn’t help my argument: it’s pretty paint-by-numbers.

#103: “Some Days Are Better Than Others” (Zooropa, 1993): Whether you like U2′s futuristic fever dream Zooropa or not, you certainly can’t call it unmemorable. ...except this song, which is pretty unmemorable.

#102: “Fire” (October): “Fire” has a nice rollicking energy to it that’s ruined by some of the most painfully unimaginative lyrics I’ve heard in a U2 song. The missing lyric book strikes again!

#101: “The Ocean” (Boy): It’s the shortest U2 song! Yes, even shorter than the instrumental “4th of July.” “The Ocean” is a nice melancholy tune, but because of its brief runtime, it sort of comes and goes without leaving much impact.

#100: “In A Little While” (Leave Behind): I guess for a John Mayer soundalike, this isn’t bad. The melody is nice. But ugh — I will never be able to stomach that faux-troubadour, early/mid-’00s singer-songwriter sound. Sorry, blame Jack Johnson oversaturation during my formative years.

#99: “If You Wear That Velvet Dress” (Pop): A gorgeous, subtle ballad that’s a breath of fresh air on U2′s noisiest album. Or at least, I’m assuming; I honestly can’t hear what’s going on. Bono is whispering more than singing for the entire first minute, and you have to crank up the volume just to tell what the hell’s going on. I get what they were going for here — a bleak, desperate ballad — but the execution was off.

#98: “Original of the Species” (Atomic Bomb): Atomic Bomb has lots of corny moments, and this entire song is one of them. It’s also kind of a mess, structure-wise: “Original” feels like a Frankenstein’s monster of power ballads, like four different songs awkwardly smushed together. But, I’d be lying if that chorus doesn’t have enough classic U2 oomph to redeem “Original” just a bit.

#97: “Scarlet” (October): A song with one word? I mean, you could call it intentionally minimalist...or you could assume that Bono was winging it after he left that lyric book in Portland. Yes, that one incident scars most of the album.

#96: “Daddy’s Gonna Pay For Your Crashed Car” (Zooropa): I think this is U2 going after the one percent, but it might be about a pimp? Or a serial killer? It’s kind of vague, which I feel was supposedly intentional. Unfortunately, the production takes too long to really pick up to help the song stand out beyond that.

#95: “Shadows and Tall Trees” (Boy): I don’t really go to Boy for its spaced-out ballads, but “Shadows” is still an okay track. The imagery is oblique and mysterious, and the final climax is a nice touch as well. Nothing mind-blowing (the lyrics get a bit repetitive), but it’s certainly an acceptable album closer.

#94: “Who’s Gonna Ride Your Wild Horses” (Achtung Baby, 1991): Achtung might be U2′s best album (sorry, Joshua Tree), but if there’s a weak link, this is it. “Wild Horses” isn’t a terrible tune, but it certainly suffers from cliched lyrics and production/melody that sounds suspiciously like a car commercial. It’s the band’s awkward attempt at a Springsteen song, and it doesn’t quite click.

#93: “I Threw a Brick Through a Window” (October): Definitely on the repetitive side, but that opening drum beat! And the Edge’s furious guitar work! It’s only half a song, but at least it’s a pretty good half.

#92: “Exit” (The Joshua Tree, 1987): Easily the darkest, most sinister song on Joshua Tree, but it doesn’t quite work. The climax is great — it’s all discordant guitar shredding and fast-paced drums — but it’s too short, and the buildup isn’t interesting enough.

#91: “Love and Peace or Else” (Atomic Bomb): This is another U2 track with a great idea (that sludgy, distorted guitar tone in the beginning is delicious), but winds up not quite working due to another factor (Bono turning it into a mediocre blues song).

#90: “Indian Summer Sky” (The Unforgettable Fire): It’s a near carbon-copy of “Wire,” which appeared just earlier on the album. Luckily (as you’ll see later), “Wire” is a great song, so “Indian Summer Sky” isn’t a disaster by any means. But it also fails to stand out.

#89: “When Love Comes to Town” with B.B. King (Rattle And Hum): When Rattle And Hum was released, some critics took shots at U2 trying to place themselves among rock legends like B.B. King, but I don’t really have an issue with that. What I have a problem with is Bono getting completely outclassed on his own song (King fulfills his duty with some silky-smooth guitar solos), which turns out to be pretty standard blues-rock. Come on, y’all could’ve given King something better to work with.

#88: “The Refugee” (War): This song is kind of ridiculous (having tribal drums for a song about refugees might not have been the most sensitive choice there, guys), but it’s got enough righteous anger and energy (and grunting noises???) to make it memorable. Not a War highlight, but not skip-worthy, either.

#87: “Heartland” (Rattle And Hum): “Heartland,” Bono’s ode to the American landscape, certainly is gorgeous. Edge and Larry Mullen Jr.’s harmonizing backing vocals add a lot here. But it feels a bit odd to have Bono singing his guts out on the chorus about ... uh, wheat fields and rivers.

#86: “If God Will Send His Angels” (Pop): I’m not sure if this song was meant to sound sleazy or sincere, it unfortunately winds up in the awkward middle in-between the two. Still, Bono comes through with a solid chorus melody, and I do have to give props for songs that sound better after 1 a.m.

#85: “Mothers of the Disappeared” (The Joshua Tree): “Mothers” tackles a very heavy subject: children who had been kidnapped by dictatorships in Chile and Argentina. As a result, the funeral durge sound is appropriate. It’s not the most memorable album closer, but it wasn’t meant to be anything other than a respectful tribute, which it does nicely.

#84: “New York” (Leave Behind): It’s a bit odd that a song this pessimistic and odd (by U2 standards, at least) wound up on the very radio-friendly All That You Can’t Leave Behind. It’s an interesting, trance-like song with a nice crunchy chorus that’s only dimmed by Bono’s lyrics: “Hot as a hair dryer in your face/ Hot as a handbag and a can of mace.” ...what?

#83: “Tryin’ To Throw Your Arms Around the World” (Achtung Baby): The vibe of this song is clear from the first verse: it’s all about that feeling early in the morning where you’re coming down into a hangover and you feel sluggish and helpless, but you’re still a little drunk. It captures that moment exactly, and if it was a more pleasant moment to live through, it would’ve ranked more highly.

#82: “Twilight” (Boy): Nope, not about sparkly vampires. It is about some random old guy stalking a young schoolboy though, so the creepy, spider-like guitar hook is quite appropriate.

#81: “Trip Through Your Wires” (The Joshua Tree): U2, at the height of their powers and fame, decided to record a country song. No, not heartland rock or folk — straight-up country. And it’s shockingly okay, for a bunch of Irish guys trying to sound like they’re from Texas.

#80: “Miracle Drug” (Atomic Bomb): Like most passable late-era U2, “Miracle Drug” is cheesy as hell...but damn, that chorus hits you in the gut. It doesn’t matter what inane lyrics Bono spits out if he can belt out a soaring melody coupled with those classic Edge riffs.

#78/79: “An Cat Dubh/Into The Heart” (Boy): This pair of tracks is meant to be the soundtrack of a teenage boy being seduced for the first time (this concept isn’t nearly as icky when you remember half the band were teens at the time). But instead of feeling sexy, it sounds unsettling. Still, it kind of works as a sinister, dangerous post-post punk track, so *shrug*

#77: “Angel of Harlem” (Rattle And Hum): I’m not sure why U2 felt a connection to Billie Holiday, and this song is a bit over-the-top with its horn pop-ins and Bono’s aggressive reference-dropping. But if you give into its charms, “Angel of Harlem” has a nice R&B groove and it’s a fun little detour from the overwrought seriousness of the rest of Rattle And Hum.

#76: “So Cruel” (Achtung Baby): Achtung was partially inspired by The Edge’s still-fresh divorce, and it clearly shows on this track. “So Cruel” is a raw, wounded trip-hop ballad that would’ve been a lot better if it was trimmed by about a minute.

#75: “Promenade” (The Unforgettable Fire): There’s been a few songs so far that I’ve criticized for not really having much of a climax. “Promenade” also shares that problem, but it was done intentionally here, like a tease. Although that still frustrates me, I have to at least respect “Promenade” for its gorgeous buildup into nothing.

#74: “With a Shout (Jerusalem)” (October): I have no clue what this song is about. Probably something Biblical, given how seemingly half the lyrics are Bono yelling “JEERUUUUUSAAAALEM” and going on about blood spilling and whatnot. Regardless, that new wave groove kinda bangs.

#73: “Drowning Man” (War): This is one of two ballads on a very angry, intense album. Although “Drowning Man” is decent, it’s definitely the weaker (and rightfully less famous) of the two. Bono’s on his A-game, wailing away like a lunatic in the best way possible, but the song itself kind of meanders around and then just ends.

#72: “Numb” (Zooropa): Putting this as Zooropa’s lead single might have been U2′s ballsiest move. Sure, the band has taken plenty of risks, but introducing their new album with The Edge monotonously mumbling random statements over a glitchy industrial beat? If Pitchfork was around in 1993, they would’ve eaten it up. As a song, it’s just okay. As a prank on the general public, it’s great. As a music video, it’s U2′s undisputed best (don’t fight me on this).

#71: “Staring At The Sun” (Pop): This is easily the song that’s aged the least on Pop, which is both a positive (it doesn’t reek of the late-’90s and can easily fit into modern concert setlists) and a negative (the aggressive late-’90s vibes of Pop are actually really fun). In other words, it’s a passable mid-tempo ballad.

#70: “Van Diemen’s Land” (Rattle And Hum): Edge actually sings this one! It’s a nice little Irish folk ballad, and proof that letting the guitarist sing for a song or two is never a bad idea.

#69: “A Day Without Me” (Boy): Fun fact: this is U2′s first single from their first album. It’s a passable, bouncy tune, but I’m kind of shocked that it was chosen as a single ahead of some of Boy’s stone-cold classics (we’ll get to those later).

#68: “The First Time” (Zooropa): Nestled into an album full of weirdo experimentation is this minimalist tune about how others’ compassion means nothing if you’re not willing to accept it. Ends with a nice twist on the classic Prodigal Son story. Not U2′s most gripping ballad, but there’s something about it that lingers with you.

#67: “Stuck In A Moment You Can’t Get Out Of” (Leave Behind): The studio version is decent, but the acoustic version that Bono and Edge play live really accentuates the melancholy nature of Bono’s lyrics. Based on its backing instrumentation, “Stuck” can either be about getting stuck in a rut, or an uplifting anthem about getting yourself out of that rut.

#66: “One Tree Hill” (The Joshua Tree): No, it’s not about the TV show. “One Tree Hill” is actually a touching tribute to a former roadie and confidant of the band, Greg Carroll, a Maori man killed in a motorcycle accident. The song is an appropriate mixture of mournful and celebratory; A fitting sendoff to a good friend.

#65: “Acrobat” (Achtung Baby): Achtung Baby is a snarky, sarcastic album for the most part, but that fades away in the album’s closing three tracks, which are all proudly earnest in different ways. “Acrobat” is the angry one, in case you couldn’t tell by Edge’s sharp guitar (plus a killer solo at the end) and Bono railing against his critics. U2 have displayed their anger better in the past, but this is certainly no slouch of a song.

#64: “Last Night On Earth” (Pop): U2 takes on desert rock here, and they mostly nail it, mainly thanks to that massive, scream-along chorus. This could’ve easily fit on the Fear and Loathing soundtrack, and that’s a pretty weird thing to say about U2.

#63: “All Because of You” (Atomic Bomb): The best tracks from Atomic Bomb are in its actually-solid first half, and the rollicking, braindead-but-in-a-good-way “All Because of You” is a perfect example of that. Don’t think about it too hard, just nod your head to the dad-rock groove.

#62: “Stories For Boys” (Boy): I’m honestly surprised this many songs from Boy didn’t make the top half of the countdown given how much I like the album, but it’s more of a consistent record than a truly legendary one. “Stories For Boys” is essentially a catchier version of a lot of the album’s other wire-y post-punk jams.

#61: “I Fall Down” (October): Now we’re getting into the October tracks that actually feel like real songs instead of half-baked ideas. “I Fall Down” has all of the great early U2 hallmarks: a classy Edge piano riff; a surging, angry chorus; and Bono singing oblique cryptic lyrics that make no sense, but hey, they sound cool. Underrated track.

#60: “In God’s Country” (The Joshua Tree): AMERICA. BALD EAGLES. DESERTS. FARMS. OPEN PLAINS AND STUFF. (In all seriousness, this is a solid tune, if a bit hyperbolic with the Americana-themed lyrics.)

#59: “Lemon” (Zooropa): We’re halfway through the list, and I think it’s appropriate to mark that with one of U2′s more prominent experiments. After Zooropa’s first single was the jokey “Numb” with Edge rapping in monotone, having the second single be Bono singing in a hammy falsetto over a disco beat felt goofy too. But on deeper listen, the lyrics are actually quite heartbreaking: Inspired by the death of Bono’s mother (we’ll return to that topic soon), “Lemon” is all about how we use photos and film to try and grasp onto the past. But tragically, just watching home videos of a dead loved one can’t bring them back. Hence, Bono is “slipping, slipping under” and “feels like (he’s) holding onto nothing.” And if you want to, you can ignore the lyrics and just jam to the very-’90s dance beat. (although it really didn’t have to be seven minutes long...)

#58: “Silver and Gold” (Rattle And Hum): Bono and the gang bring plenty of righteous fury to this anti-apartheid track, even if there is an awkward moment in the middle where Bono rambles for a minute. But then Edge...uh... “plays the blues” (which apparently is code for SHREDDING), and he redeems his singer for halting the song’s momentum.

#57: “Rejoice” (October): Here’s a secret: If you can get through the repetitive filler tracks, October smuggles in some absolute new wave BANGERS. “Rejoice” is one of them.

#56: “Wake Up Dead Man” (Pop): If you’ve ever had the desire to hear Bono drop the F-bomb in a song, here you go. But beyond that odd moment, “Wake Up Dead Man” is notable for being possibly U2′s most depressing track. Pop was described by the band as “starting at a party and ending at a funeral,” and since this is the closing song...yeah, funereal is a good descriptor. Bono is essentially on his last legs, begging God to come and save an increasingly broken world, and it’s implied that God probably won’t step in. We’re all fucked. No wonder they wrote “Beautiful Day” and “Walk On” a few years later; U2′s moods couldn’t have gone anywhere but up from this.

#55: “Elvis Presley and America” (The Unforgettable Fire): Ever wonder what it would sound like if U2 took one of their songs, slowed it down dramatically, added some sparse guitars and then had Bono ramble over it for six and a half minutes? You’d get “Elvis Presley and America,” which I hated the first 20 times I heard it. Then things clicked, and now I think it’s a work of art. Still not sure how it wound up on a U2 album, though.

#54: “Dirty Day” (Zooropa): I have no clue what this song is about, but the nocturnal, alley-dwelling vibe sure sounds cool. If you squint at it right, it could totally be one of Pulp’s darker tracks, minus the heavy British accents.

#53: “Love Is Blindness” (Achtung Baby): Out of Achtung’s emotional final three songs, “Love Is Blindness” represents despondency. The gothic atmosphere captures the sad-sack feeling fairly well, but I’ve got to admit something painful: Jack White might have done it better. These are lyrics meant to be screamed, not whispered.

#52: “Sometimes You Can’t Make It On Your Own” (Atomic Bomb): Here’s another dead-parent ballad, this time about Bono’s dad. It’s totally cheesy, but in a very endearing way that, if I’m in the right mood, might draw a few tears out.

#51: “Babyface” (Zooropa): It feels a bit wrong to put a slimy song about what sounds like virtual reality future porn (or something like that) over a very sincere ballad about the death of Bono’s father. ...but U2 pull off being creeps really, really well! It’s actually a bit concerning how well they pull it off here, but that slinky groove is just too hard to resist.

#50: “Tomorrow” (October): “Tomorrow” is Bono’s first song about one of his parents dying; In this case, it’s his mother. The Irish bagpipes were a nice touch, and of course, it ends as a raw, emotional tornado complete with a piercing Edge solo. Imagine if all of October was as fully-formed as this.

#49: “October” (October): The other notable ballad from October is its title track, where the album’s minimalism is intentional. Edge plays a sparse, gorgeous piano line, Bono waxes poetic for a little bit about the depressing nature of the fall, and Larry Mullen Jr. and Adam Clayton get a bathroom break. I wish U2 did more stripped-down piano songs like this.

#48: “Like A Song” (War): “Like A Song” obviously isn’t as furious as some of War’s highlights, but it’s certainly not a perky song either. I’m honestly shocked this anti-nationalist anthem isn’t a bigger fan favorite: There’s a lot of nervy energy here, and Bono’s lyrics are wonderfully bombastic.

#47: “Wire” (The Unforgettable Fire): Fun fact: “Wire” is so cool that it was featured in an episode of Miami Vice. Also, it’s one of, like, three songs on Unforgettable Fire that isn’t super-ambient and hazy, so it provides a nice energy boost.

#46: “Red Hill Mining Town” (The Joshua Tree): This mid-tempo slow-burner about the 1984 UK coal miners’ strike is most notable for being the only song from Joshua Tree that U2 had never performed live — until 2017′s Joshua Tree Tour, where they performed the album in full every show. Why did they avoid playing it live? Well, listen to that chorus. Hear the high notes Bono is clearly scraping to hit. It’s incredibly impressive and moving on record, but to do that every night would destroy his vocals. I’m shocked that I got to see it live myself, but it was just as intense as I’d hoped.

#45: “Seconds” (War): War is an album about politics written in the ‘80s, so it was pretty necessary to have a song about nuclear war. This one’s got a deceptively bouncy beat and ... wait, is that Edge singing the first verse?! "Seconds” gets bumped up a couple spots just for that alone. Also, fake-happy songs about nuclear war in general are great, just ask Nena.

#44: “Miami” (Pop): I was very, very tempted to place this higher. Out of all their ‘90s experimental tracks, “Miami” might be the most weird. Yeah, “Numb” is up there too, but at least that was catchy. “Miami,” meanwhile, features sunburnt Bono ramblings about their kitschy surroundings in the titular Florida city over what sounds like the soundtrack to a stalker. Adam and Larry’s rhythm is persistent and slowly grows louder and louder, until the climax, where everything explodes: Edge’s guitar cuts through the song like a machete and Bono is screaming “MIAAAAMI” like he’s on bath salts. Does it make any sense? Hell no. But that makes this very late-‘90s excursion all the better.

#43: “Hawkmoon 269″ (Rattle and Hum): One of Rattle and Hum’s few excursions into the blues that actually works, because it’s so raw. And how about that slow build?? Over six minutes, “Hawkmoon” goes from a quiet R&B groove to Bono nearly coughing up a lung because of his vocal wailings. And of course, it closes with a gospel choir. It’s so ridiculous that it works.

#42: “Kite” (Leave Behind): What’s sadder than a dead-parent song? How about a song about your parent dying slowly before your eyes? This gut-wrenching track about Bono’s father is a tear-jerker, even with its cringy, unrelated final verse (“The last of the rock stars/when hip-hop drove the big cars”...smh).

#41: “Zoo Station” (Achtung Baby): What’s that strange, aggressively-European noise? Why, it’s the sound of rock’s greatest reinvention taking place! Its ominous opening piano plinks (which is actually the Edge distorting his guitar...how, I don’t know), Larry and Adam’s krautrock backbeat and Bono’s filtered vocals are a huge breath of fresh air from the ~authentic~ sounds of Rattle and Hum. Perfect intro to a perfect album.

#40: “Desire” (Rattle and Hum): Of course, those ~authentic~ sounds can kick ass when executed correctly. Rattle and Hum’s first single is a primal blast of Bo Diddley rockabilly that comes in, rocks your face off, and gets out. In 1988, I’m sure “Desire” almost made R&H sound like a good idea at first. Also: HARMONICA SOLO!

#39: “Please” (Pop): “Please” is sort of the sadder, dejected cousin of “Sunday Bloody Sunday”: Both songs are about The Troubles in Northern Ireland, but while the latter is an angry, righteous call-to-arms, “Please” is begging for mercy. U2 were sick and tired of the atrocities committed in the name of nationalism or loyalism (especially by 1997, when the conflict had been going on for over 30 years), and this track is a desperate, Hail Mary prayer to the politicians to do something, anything, to stop it. By 1998, the Good Friday Agreement was signed a year later, mostly ending the violence, but “Please” stands as a time capsule of Ireland and Northern Ireland’s exhaustion.

#38: “One” (Achtung Baby): Behold: The most overrated U2 song! “One” is still a good ballad, but let’s not pretend it’s U2′s best song or anything. Musically, this is just an average rock mid-tempo ballad. There’s no goosebump-inducing moments like there are with U2′s best slow tunes; With “One,” you sort of sit there, listen to it, and go, “Hmm. That was nice.” And that’s exactly what it is: Nice. It’s got a nice melody, some admittedly great lyrics, and it’ll get stuck in your head a bit. But I find myself skipping it sometimes when going through Achtung to get to that album’s weirder and wilder tracks. Sorry, I’ve just never been able to connect — but I can at least see why it’s considered a classic.

#37: “40” (War): Ending U2′s angriest album with a hopeful prayer for peace and change (based off Psalm 40) was almost necessary. After the raging fury of War’s previous nine tracks, “40″ is a calming salvo with a simple melody that could’ve been written centuries ago.

#36: “Until The End of the World” (Achtung Baby): Role-playing as one of the Bible’s most infamous villains isn’t unheard of in rock (oh hi, Mick Jagger), but this sympathetic look at Judas still stands out thanks to a killer Edge riff and Bono effectively playing both a dirtbag and a repentant sinner. Definitely an overlooked track.

#35: “Mofo” (Pop): U2 goes full ‘90s techno! ...no, wait, please come back, it’s nearly as embarrassing as you’d expect. In fact, it’s quite amazing. This is arguably some of Adam and Larry’s best rhythm work here: That drum machine and synth bassline is laser-focused. But what really makes it work is Bono, trying to cut through the noise to find a connection with his dead mother. In a way, “Mofo” serves a similar purpose as “Lemon,” but the former steps it up on the production end. It’s crazy to think that just a decade before this, U2 were writing faux-country.

#34: “God Part II” (Rattle and Hum): Supposedly this is a sequel to John Lennon’s “God,” but besides a quick shot at Lennon biographer Albert Goldman, “God Part II” has little connection to the former Beatle. Instead, what we get is a caustic, seething tirade against ‘80s capitalism, fame and other random subjects that really stands out among the rose-colored nostalgia of Rattle and Hum. It borders on ridiculous, but Bono’s unconcealed anger makes “God Part II” legitimately great.

#33: “Walk On” (Leave Behind): To a lot of people, I’m sure “Walk On” represents U2′s 21st-century descent into cornball sentimentality and empty optimism. And although there’s a lot of modern U2 songs that fit those descriptors, lay off this one. “Walk On” is a goddamn classic that’s legitimately uplifting. Is it cheesy? Duh. Does that stop the song from filling me with warm fuzzies every time? Nope.

#32: “Two Hearts Beat as One” (War): "Two Hearts” has unfortunately been overshadowed by War’s other two singles, both of which deal with much, much weightier topics. Still, a post-punk banger is a post-punk banger.

#31: “Gone” (Pop): There isn’t another U2 song that describes the intoxicating rush and subsequent crash of fame better than “Gone.” Edge’s howling air-raid-siren guitar signifies regret just as well as Bono’s melancholy lyrics: “You’re taking steps that make you feel dizzy/until you learn to like the way it feels” is a powerful, succinct way of describing celebrity’s danger and addictiveness.

#30: “Running To Stand Still” (The Joshua Tree): Now we’ve reached the legitimately legendary tracks on Joshua Tree: the first five songs. “Running To Stand Still” is the most unassuming of that opening quintet, until you realize the song’s about slowly dying from heroin in a dingy Dublin flat. Suddenly, the quiet piano ballad turns from pretty to haunting. Near the end of the track, “Running” threatens to reach a righteous, inspiring U2-trademark climax — but it never does. Just like for those heroin addicts, there wasn’t an escape.

#29: “The Unforgettable Fire” (The Unforgettable Fire): Despite U2 being one of the ‘80s’ biggest bands, they never really fit that decade’s sound and aesthetic. There’s a reason why semi-contemporaries like Duran Duran and Bon Jovi are more associated with the Reagan years: They followed the trends, while U2 kinda did their own thing. But for “Unforgettable Fire,” U2 actually created a song that sounds super ‘80s. And it’s wonderful: Massive snare drum hits! Synthesizers! Abstract lyrics about nuclear war (it was inspired by an art exhibition featuring works from Japanese atomic bomb survivors)! Honestly, this could’ve been on a John Hughes movie soundtrack and fit right in — and that’s a high compliment.

#28: “The Electric Co.” (Boy): The best moments on U2′s first two albums are when they cut loose with loud, super-catchy new wave tracks that are shockingly danceable. “Electric Co.” is absolutely one of those songs. The lyrics are mere placeholders for Edge’s first true rock-god guitar solo and Larry Mullen Jr. providing a energized beat Franz Ferdinand would’ve killed for. In other words, it’s — wait for it — electric. (I’m so sorry)

#27: “Even Better Than The Real Thing” (Achtung Baby): The acidic desert-rock of “Even Better” feels absolutely effortless. You could play this in a club today, and it might kill; That’s how perfect this groove is. And nobody played a slimy lounge lizard better than circa-1991 Bono.

#26: “Bullet The Blue Sky” (The Joshua Tree): I’d hesitate to call “Bullet The Blue Sky” U2′s angriest song (there’s a pretty massive tune still to come that fits that bill), but it’s a close second. This fiery, nearly-metal (yes, really) track is four and a half minutes of white-hot fury directed at Ronald Reagan and the U.S. military for their interventions in El Salvador and Nicaragua. It’s odd to hear a band typically thought of as “safe” directly attack an at-the-time popular president, but it’s thrilling. And how about that deliciously hammy spoken-word ending?

#25: “Pride (In The Name Of Love)” (The Unforgettable Fire): Yep, we’re getting into the big boys now. “Pride,” as I’m sure you likely know, is U2′s tribute to Martin Luther King Jr., and it’s one of the band’s iconic hits for a good reason. This is where Edge really started to develop his iconic sound, and Bono’s wailing serves a purpose here, painting MLK as a messianic savior. You wouldn’t think four pasty kids from Dublin would make a great tribute to a black American civil rights icon, but shockingly, it’s a perfect fit. “Free at last, they took your life/but they could not take your pride.”

#24: “New Year’s Day” (War): Apparently, “New Year’s Day” is about the Polish Solidarity movement. But even for someone who knows very little about Poland’s political history (like me), it’s still a perfect post-punk song. Edge pulls double-duty with both a searing guitar solo and an iconic piano riff, and Bono cranks the melodrama up to 11. Nearly half of his lines here are nearly yelled in his reach-the-cheap-seats voice, and as someone who has seen U2 multiple times in the cheap seats, let me promise you: it works. Really well. (side note: blonde is really not your color, Bono)

#23: “Gloria” (October): Man, how amazing would October have been if more of the songs were as complete and perfect as “Gloria?” I don’t think you’ll hear another new wave track that indulges in heavily religious Latin phrases as this does, but it still bangs. I have no idea how, but it bangs. By the triumphant conclusion (after a rare Adam bass solo!), you’ll be dancing along to lyrics you’ve only heard before in a stuffy Catholic mass. Who said Christian rock has to suck?

#22: “Do You Feel Loved” (Pop): Okay, when I said we’re “getting into the big tracks,” that might have been a bit misleading. Of course there’s some deep cuts that I love more than the hits, and “Do You Feel Loved” is a perfect example. I can’t understand why people dismiss Pop when it has a song that arguably features U2′s greatest bass line (yes, seriously). Adam rules this song with his seductive groove, and the rest of the band falls in line to create one of U2′s smoothest and most psychedelic dance tracks.

#21: “MLK” (The Unforgettable Fire): U2 actually wrote two tributes to MLK on The Unforgettable Fire. This one is a lot more abstract and consists of Bono singing a soothing lullaby over ambient synths. It’s an absolutely gorgeous, minimalist track that’s the perfect album closer to U2′s most spaced-out album.

#20: “Beautiful Day” (Leave Behind): Sometimes I want to pretend that I’m too good for “Beautiful Day.” I mean, it’s totally the basic person’s favorite U2 song, right? Well, those feelings end as soon as I hit play, and before I know it, I’m singing along to every word. Seriously, if you don’t like “Beautiful Day,” you might need a hug.

#19: “The Wanderer” feat. Johnny Cash (Zooropa): Yes, you read that right. On U2′s most electronic-leaning album, they snagged a Johnny Cash feature. And it’s arguably the saddest song they’ve ever recorded. Cash takes over vocal duties here, crooning about leaving his lover against a post-apocalyptic backdrop. The synthetic production clashes with Cash’s old-fashioned vocals to create a truly memorable experience, and you’ll be left stunned and slightly dejected afterwards, just like the best Western ballads.

#18: “Mysterious Ways” (Achtung Baby): I can’t believe I’m going to say this: This U2 song is legitimately sexy. At the very least, this is an all-time great Edge guitar riff.

#17: “Elevation” (Leave Behind): Yes, this track is unforgivably stupid — but you try resisting its charms when you’re surrounded by an entire stadium bouncing up and down screaming along to that hook. Just don’t think about it. (also... why were they cross-promoting the single with Tomb Raider)

#16: “Vertigo” (Atomic Bomb): The rules for “Elevation” apply here, too. If I’m not too good for “Beautiful Day,” I’m certainly not too good for this. Let’s be real: We all love this song in all its beautifully silly glory. Give into the cheese. Ignore South Park. YEAH YEAH YEAH YEAH YEAH YEAH YEAH

#15: “Stay (Faraway, So Close!)” (Zooropa): One of the aspects of Zooropa that makes it such an underrated album is the layers of melancholy that lie beneath the robotic production. “Stay” brings that melancholy right to the forefront as a timeless ballad telling the story of post-breakup agony. A lot of U2′s ballads surge into something resembling hope, but “Stay” doesn’t fool you: This is a sad song. There’s no happy ending here. In fact, given the ending line about an angel hitting the ground, followed by an abrupt snare hit, it might end in suicide. “Stay” is the kind of song that Elvis could’ve killed, or Radiohead, or Adele; it’s that timeless in theme and melody. But Bono’s raw desperation in his vocals really sells it.

#14: “All I Want Is You” (Rattle and Hum): I guess this would be the hopeful flip of “Stay,” then. “All I Want Is You” is also a quiet acoustic ballad that ends up in Bono screaming out his lungs over a complicated relationship, but instead of despondent, this Rattle and Hum highlight feels triumphant. It’s the kind of track that you can picture closing an whirlwind romance film, the two lovers embracing in the sunset as Edge makes his guitar cry and Bono shreds his vocal cords. “All I Want Is You” might not be U2′s best power ballad, but it might be its most romantic.

#13: “I Will Follow” (Boy): U2 were all teenagers when they wrote “I Will Follow,” and it shows. The first track off of U2′s first album bursts out of the gate with unbridled youthful energy. The relentless post-punk groove only lets up for a second, as Bono rambles off some nonsense-but-somehow-cool lines about eyes, then BAM! Full throttle again. Outside of perhaps the Arctic Monkeys, MGMT and R.E.M., I’m not sure there are many bands with better introductions to the world than this. (also lol @ half the band looking like middle schoolers in the music video)

#12: “Zooropa” (Zooropa): “Zooropa,” the song, is very different than the rest of its identically-titled album. Most of Zooropa (the album) is about how technology can’t mask humanity’s despair and loneliness. But for its beautiful, magnificent title track, U2′s vision of a sardonic, aggressively commercialized future seems utopian.

“Zooropa” (the song) is an epic in three parts: It begins with a spooky piano riff, coupled with incessant noise pollution for two minutes. Then, the Edge’s slippery guitar riff calls from the distance, like a beacon, and it leads into Bono and the gang calmly spouting off advertising slogans for two minutes (yes, really). It feels overly polished...until the final third, when all chaos breaks loose and the band gives themselves into the confusion.

A giant swirl of synthesizers and guitars encircle Bono, as he repeatedly states that yes, he is clueless and lost, but he’s still hopeful for the future. And “Zooropa” makes the future sound tenatively wonderful. As Bono puts it, “Don’t worry baby/It’ll be alright/Uncertainty can be a guiding light.” “Zooropa” captures that optimistic early-’90s, post-Berlin Wall moment better than almost any song.

#11: “City Of Blinding Lights” (Atomic Bomb): When people talk about “The U2 Sound,” this is probably what they’re talking about. The chorus of “City Of Blinding Lights” is so powerful that it can’t legally be played in an indoor setting — all the glass would shatter. Seeing U2 perform it live is a spiritual experience: Edge’s guitar soars to the sky, tens of thousands of fans are yelling along to the “oooh-oh-ooooh” background, and Bono only needs to shout six words to cement “Blinding Lights” as an all-time U2 great. It’s admittedly one of the more sanitized songs about New York City, but I’ll be damned if it isn’t moving.

#10: “Where The Streets Have No Name” (The Joshua Tree): “Streets” might not quite be U2′s best song, but it’s easily their best live track. All three times I’ve seen them (sorry for the humblebrag), there’s no bigger reaction from the audience than when everything goes quiet, an organ warms up, and the only thing you can see on stage is a blinding red light. It’s a magical moment.

There’s no other U2 song that reaches to the rafters quite like “Streets” does. In fact, based on the driving rhythm and Bono’s lyrics about persistence and escape, it’s basically U2′s version of “Born to Run,” and that might be one of the highest compliments I can give a song. The Edge’s chugging riff here sounds like driving into the desert sunrise, trying to reach heaven. And they actually do it.

"Streets” is so perfect and so adored, I almost feel a little guilty not putting it at number one. Unfortunately, the studio version (although still excellent) pales in comparison to seeing it live, which knocks it a bit. Still — everyone should see U2 live at least once, just to witness the glory of this song. It’ll give you goosebumps, guaranteed.

#9: “Discotheque” (Pop): This is not a joke. I legitimately think “Discotheque” — one of U2′s most infamous flops and an instant punchline of a track that featured a music video where the band danced in costume as the Village People in a giant disco ball (yes, really) — is one of U2′s very best songs. I promise I’m not trolling here.

In middle school, when I was making my way through U2′s catalogue, I didn’t have high expectations for Pop, due to its rank reputation. But alas: that lead-off track grabbed me immediately with its seamless blend of distorted ‘90s alt-rock and (obviously) disco. I knew that I should probably like songs like “One” or “Pride” more, but I couldn’t stop myself from listening to “Discotheque.” Bono was right: I couldn’t get enough of that lovey-dovey stuff.

Lyrically, this track is absolutely meaningless. Bono merely serves as another addition to the rhythm, which might be U2 at their best. I’m not sure there’s another rock-band-attempting-dance-music song better than this, because Larry Mullen Jr.’s primal rhythm is absolutely hypnotic — not that Edge’s swirling guitar doesn’t help. If “Streets” feels like ascending into Americana heaven, “Discotheque” is the glorious, hedonistic descent into ‘70s-kitsch hell. And I love every stupid, delirious second of it. Sue me.

#8: “Bad” (The Unforgettable Fire)

Plenty of artists have an album cut that’s become more beloved among diehard fans than even some of their most popular hits. The Beatles have “In My Life.” Billy Joel has “Vienna.” Even a singles-centric pop artist like Taylor Swift has “All Too Well.”

What’s U2′s most beloved deep cut? “Bad,” and it’s probably not close. And this Unforgettable Fire highlight is legendary for a reason: It’s arguably the most intense, epic U2 song of them all. I’ve said many times on this list that I love when Bono cuts loose with his vocals, and he’s never more raw than he is when “Bad” finally reaches its pinnacle after a tantalizing slow-burn. Every time he screams into the void, “I’M WIIIIIIIDE AWAAAAAKE,” his voice cracking with desperation and loss, it sends shivers.

It’s shocking that a band whose members mostly stayed away from hard drugs would write one of the best heroin songs of all time, but that’s exactly what “Bad” is. Instead of focusing on the high of the drug, it focuses on the severe overdose and the horrors that come with addiction. Despite being a non-user, Bono somehow nails those dark emotions, and it makes “Bad” all the more memorable.

#7: “Out Of Control” (Boy)

This is the pinnacle of that youthful U2 sound from their first two albums. “Out of Control” sounds like pure teenage angst, a vibe that these guys don’t typically cover.

But it’s not Bono’s lyrics, as wonderfully whiny and emo as they are here, that sell this early classic: It’s that unstoppable groove. Larry and Adam lay down a forceful, tight four-on-the-floor beat that is instantly workout-ready, and Edge’s triumphant guitar riff (and stellar solo) doesn’t fit the lyrics that well, but it certainly gets me hyped. All Bono had to do was bring the energy, and he’s as theatrical here as ever. Switch up some of the instrumentation and add some pop culture references and this easily could’ve been the greatest Fall Out Boy song ever written (I mean that in the very best way possible).

#6: “The Fly” (Achtung Baby)

Ladies and gentlemen, I present to you: the ballsiest move in rock music history.

Going straight from the AARP-friendly sound of Rattle and Hum directly into their sleazy, nihilistic masterpiece, “The Fly,” must have been a massive shock for U2′s fans in 1991. After all, the band did aptly describe Achtung Baby’s lead single as “the sound of four men chopping down The Joshua Tree.” And as far as burning your legacy to the ground goes, you can’t really do better than “The Fly.”

Bono is wonderfully hammy as the song’s titular character, a greaseball making a crank call from a payphone in Hell, spouting false nothings and seducing the listener, not unlike a Screwtape for the ‘90s. The way he switches between the breathy verses and his exaggerated dance-diva falsetto in the chorus is seamless.

But let’s not forget Edge’s contribution here: “The Fly” features his all-time best guitar solo. It goes down to the depths of the underworld and then contorts itself into a psychedelic, hypnotic kaleidoscope of sound. It’s truly breathtaking, and his sharp riff that repeats throughout really enhances the song’s dark tone.

“The Fly” might not have sold too well in the U.S. — clearly we didn’t like our U2 singles to be this snarky. And it’s never really had the same shelf life as Achtung’s more successful singles. But it’s still the pinnacle of the dark, sardonic vision U2 had for their incredible reinvention, and I wish all artists were willing to take risks this insane.

#5: “I Still Haven’t Found What I’m Looking For” (The Joshua Tree)

One of two #1 U.S. hits that U2 notched, “Still Haven’t Found” is one of those songs that feels like it was written centuries ago. Maybe it was even composed by a caveman. It’s such a simple song musically (in a good way), yet with a complex lyrical bent.

I love the way that “Still Haven’t Found” approaches Christianity. Too much contemporary Christian music seems to be overly positive and cheery — an outsider would get the impression that finding Jesus means life has no problems. Meanwhile, U2, who are famously Christian, don’t shy away from the hard truth: Finding faith doesn’t fix your problems.

Throughout the song, Bono aches and yearns for relief from his suffering, yet despite all of the divine things he’s seen and encountered, he still can’t find that satisfaction. There’s still something missing. As a Christian who sometimes struggles in his faith and can be alienated by certain religious peoples’ outward displays of perfection, it’s a relief for me to hear that others struggle in this way too.

All in all, it’s hard to believe that four guys from Ireland would create a gospel classic in the age of hair metal, but “Still Haven’t Found” is a timeless track that tackles tough emotions in a stirring way.

#4: “A Sort Of Homecoming” (The Unforgettable Fire)

Unforgettable Fire’s best song is its opening thesis. “A Sort Of Homecoming” features that oh-so Brian Eno white noise background throughout and, frankly, perfects it. The guitar, bass and some scattered synths all melt into a hazy soundscape that sounds like pure fog. All you have to do is throw on some tribal Larry Mullen Jr. drum licks and have Bono scream through the void, and you’ve got an ambient-rock classic on your hands.

There’s something so powerful about this song, even though I have absolutely no clue what it’s supposed to be about. Obviously, Bono is talking about some sort of long, trudging journey home, and “Homecoming” certainly sounds like a great road-trip soundtrack. But what makes it work is that looping, endless production and Bono’s piercing wails. “No spoken words, JUST A SCREAAAAAAAAAAM” might be when U2 cemented their legacy as a legendary stadium act. Of course, they never play this song live anymore, because it wasn’t a single, but I still think it would kill. Criminally underrated track.

#3: “Sunday Bloody Sunday” (War)

This is the greatest drum beat in rock history. I will fight anyone who disagrees.

The gunshot-crack of the snare drum that incessantly pokes its way into “Sunday Bloody Sunday” is the perfect fit for this righteously angry, seething post-punk song. That snare drum military beat is the exact moment when the world realized that these Dublin kids were going to be around for a long, long time.

The definitive song about The Troubles (sorry, “Zombie,” you can take second place), “Sunday Bloody Sunday” is iconic for a reason. Bono declines taking any stance in the conflict accept the stance of ending the conflict itself. He could care less about one side or the other: All he sees is the bloody corpses littered throughout Northern Ireland. And he’s had enough.

The studio version and the 1983 Red Rocks recording (with the white flag) are the most iconic moments associated with “Sunday,” but I prefer the live version from the Rattle and Hum movie. It was recorded hours after an IRA bombing in Northern Ireland killed 11 people, and Bono loses all filter.

In a rant in the middle of the song, as the band provides a fierce backbeat, Bono exclaims: “I’ve had enough of Irish-Americans who haven’t been home in 20 or 30 years talk about ... the glory of the revolution, and the glory of dying for the revolution. FUCK THE REVOLUTION! They don’t talk about the glory of killing for the revolution.” A minute later, he’s repeatedly bleating, “NO MORE!” It’s a chilling moment, and I’d recommend that any U2 naysayer watch it.

"Sunday Bloody Sunday” is U2 in full fire-and-brimstone mode, and despite The Troubles thankfully ending years ago, the War track’s unbridled rage still provokes a nerve today.

#2: “Ultra Violet (Light My Way)” (Achtung Baby)

I’ve gone on and on about how much I love the sleazy, dejected vibe of Achtung Baby in this list. ...but man, there’s something so powerful about that album’s exception to the rule. Out of all the trashy Euro jams and weepy breakup songs on that album, its best song, “Ultra Violet,” stands out for being a joyful, ecstatic expression of pure love.

Lots of Achtung focuses on The Edge’s divorce, so it’s refreshing to hear a five-and-a-half minute arena rock anthem about how much Bono absolutely worships his wife. And I mean that literally — he sounds totally desperate and over-his-head here, completely taken over by passion and dependency. In that final verse, when Bono takes his vocals up a scale and his voice constantly cracks, it’s a painfully powerful moment.

"Ultra Violet” is about love that’s so powerful that it’s no longer about attraction. It’s about unfiltered happiness and need. And despite the fact that it’s honestly a pretty simple song, its sheer power and optimism makes it my all-time favorite U2 deep cut. No question.

#1: “With Or Without You” (The Joshua Tree)

This song floored me the first time I heard it in middle school. It still floors me over a decade later. Based on its cross-generational iconic status (that strangely, I might have to thank Friends for), I’m sure it floors most of you too.

“With Or Without You” is the kind of song that will last forever, because not only does it have a timeless sound that connects with even the most staunch U2 hater, but also because it has possibly the greatest slow build in music history. It starts as a whisper at the beginning, and slowly, slowly, slowly dials up the volume. At one point you the band even teases you — you think it’s going to hit that big release, and nope! More tension.

Finally, over three minutes in, the drums kick into high gear and Bono lets loose his cannon of a voice into the night. The catharsis hits you like a sledgehammer right in the feelings. I’m not sure the words “OOHHH OHHHH OHHHH OHHH” have ever had more meaning. And just because U2 hasn’t spoiled us enough, they close out the song with a stunning coda that wordlessly expresses the song’s themes of yearning and conflicted passion.

Yes, Bono’s lyrics are top-notch here as well — this is the ultimate “is it about God or a girl?” song — and I do love his use of dark imagery to sell the sacrifices he’s made in the name of love. But that slow build is the stuff of dreams. Based on one five-minute song, there’s probably millions of bands across the world that formed (I can name at least one group that owes quite a bit to “With Or Without You”).

So the next time you groan about those old Irish dudes who forced some crappy late-career album onto your phone, do yourself a favor and listen to “With Or Without You.” Don’t pause it or skip to the chorus. Just play through and let the whirlwind of emotions hit you. And then you’ll see why U2 have earned their spot at the top of the world.

#u2 #In ascending order #best U2 songs #classic rock #alternative rock

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dmartin-blog · 5 years ago

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LONDON, LONDRES / ROYAL ALBERT HALL I (28/12/2016)

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Iba a llamarse The Central Hall of Arts and Sciences, pero se lo renombró Royal Albert Hall of Arts and Sciences por decisión de Victoria, en memoria de su esposo.

Roger Daltrey, vocalista de The Who, ha estado profundamente envuelto en la realización de los conciertos para este evento.8 Ceremonias de graduación