Exit (U2 song)

"Exit"
Song by U2 from the album The Joshua Tree
Released 9 March 1987
Recorded November 1986 at Windmill Lane Studios in Dublin
Genre Rock
Length 4:13
Label Island
Writer(s) U2 (music), Bono (lyrics)
Producer(s) Brian Eno and Daniel Lanois
The Joshua Tree track listing

"One Tree Hill"
(9)		 "Exit"
(10)		 "Mothers of the Disappeared"
(11)
Music sample
"Exit"

"Exit" is a song by rock band U2. It is the tenth track on their 1987 album The Joshua Tree. "Exit" was developed from a lengthy jam that was recorded in a single take and edited down to a shorter arrangement. The lyrics, which portray the mind of a serial killer, were inspired by lead singer Bono's reading of Norman Mailer's 1980 novel The Executioner's Song, and other related works. In his trial for the murder of Rebecca Schaeffer, Robert John Bardo used "Exit" as part of his defence, claiming the song had influenced his actions.

"Exit" was frequently played live on The Joshua Tree Tour, but has been performed on just one occasion since then. Live performances are depicted in the 1988 film Rattle and Hum and the 2007 video and live album Live from Paris.

Writing and recording

"If you try and dissect a jam and then reconstruct a jam, you can get to the point where you've killed it. But if you can capture the moment and edit it into some kind of a shape where people overlook any timing or tuning discrepancies, then you don't lose the inspiration and momentum and you kind of capture the pearl."

—Adam Clayton[1]

"Exit" was created on the final day of recording for The Joshua Tree.[2] It developed from a lengthy jam that the band recorded in a single take. Producer Brian Eno edited the jam down to the end length.[1] Guitarist the Edge said "it started off as an exercise in playing together with a kind of mood and a place in mind. And it really, for me, it brought me there, it really did succeed as an experiment."[3] Producer Daniel Lanois said "There's something that happens when U2 bash it out in the band room... and sometimes things get out of control, sonically, in a good way. Out of control in the sense that you don't know what it is anymore, it just takes on a life of its own, and it makes people do things."[3] Speaking of the jam, he noted "it was a long jam, and there was just this one section of it that had some kind of magic to it, and we just decided to turn it into something."[3]

The lyrics were inspired by Norman Mailer's 1980 Pulitzer Prize-winning novel The Executioner's Song, written about serial killer Gary Gilmore, and by Truman Capote's 1966 novel In Cold Blood. Lead singer Bono had read both novels and wanted to try and write "a story in the mind of a killer".[1][4] Further reading of Flannery O'Connor and Raymond Carver caused him to try and understand "the ordinary stock first and then the outsiders, the driftwood — those on the fringes of the promised land, cut off from the American dream."[5] Bono described the lyrics as "just a short story really, except I left out a few of the verses because I liked it as a sketch. It's just about a guy who gets an idea into his head. He picks it up off a preacher on the radio or something and goes out...". He noted that, although 30 songs were in contention for inclusion on the album, he "wanted a song with that sense of violence in it, especially before 'Mothers of the Disappeared'."[6]

Composition and theme

"'Exit' — I don't even know what the act is in that song. Some see it as a murder, others suicide — and I don't mind. But the rhythm of the words is nearly as important in conveying the state of mind."

—Bono[5]

"Exit" runs for 4:13. It is played in common time at a tempo of 120 beats per minute.[7]

"Exit" portrays the mind of a psychotic killer.[1] Hot Press editor Niall Stokes stated the song "trawls the area occupied by either or both [Gilmore and Manson], getting inside the head of a protagonist who's careening into psychosis."[5] He added that the point of "Exit" was "to convey the state of mind of someone driven, by whatever powerful urges, to the very brink of desperation."[5] Stokes felt that "the undercurrent of religious imagery" in the song was a response to "the fanaticism implicit in faith", and that the song allowed U2 to "[purge their] own demons, their own anger and fury at the vicissitudes fate had thrust upon them.[5] Another Hot Press contributor, Bill Graham, said "Exit" allowed U2 to "finally confess their gradual recognition of the Anti-Christ in everybody."[8]

Bassist Adam Clayton said the line "He saw the hands that build could also pull down" was a jab at the US government's conflicting roles in international relations.[9] Two songs from The Joshua Tree, "Bullet the Blue Sky" and "Mothers of the Disappeared", focused on the foreign policy of the United States. In describing "Exit", Bono said "It is all very well to address America and the violence that is an aggressive foreign policy but to really understand that you have to get under the skin of your own darkness, the violence we all contain within us. Violence is something I have quite a bit about. I have a side of me which, in a corner, can be very violent. It's the least attractive thing in anyone and I wanted to own up to that."[1]

Don McLeese of the Chicago Sun-Times believed "Exit" "[suggests] the evil that can result from moral self-righteousness."[10] Music journalist Bill Graham wrote "For the first time, [Bono] was owning up to the dangers of the dualism implicit in Christianity", comparing the song's spiritual and musical tone to that of the Virgin Prunes.[11] David Werther, a faculty associate in Philosophy at the University of Wisconsin–Madison, compared "Exit" with U2's 1991 song "Until the End of the World" in an examination of the role music can play in catharsis. He noted that both were powerful songs, but that while "Until the End of the World" allowed the possibility of purification, which he described as the cleansing of the soul "through pity and fear", by placing the listener in the position of Judas Iscariot, "Exit" was an example of purgation, a freeing from excess pity and fear. Werther noted "'Exit' evokes feelings of fear, fear of losing control, giving into one's dark side, perhaps even taking one's life", contrasting it to the "waves of regret" experienced by Judas.[12]

Reception

"Exit" received mixed to positive reception from critics. Colin Hogg of The New Zealand Herald described the song as a "decidedly scary... guitar-driven barrage".[13] Divina Infusino of The San Diego Union-Tribune described it as "blistering".[14] Tony Perry of The Patriot-News felt it was one of the low points of the album, stating "'Exit'... crescendoes into little more than noise",[15] a sentiment echoed by Lennox Samuels of The Dallas Morning News who called it "a dull piece".[16] Writing for the Orange County Registrar, Jim Washburn and Noel Davis called it "a journey through a killer's mind, made harrowing not so much by Hewson's creepy-religo lyrics as by the band's (still the Edge, drummer Larry Mullen and bassist Adam Clayton) overdriven backing, which practically boils right out of the pot."[17] Thom Duffy of the Orlando Sentinel labelled the song's atmosphere "eerie".[18]

Richard Harrington of The Washington Post called it "metaphorically ambivalent".[19] Barbara Jaeger of The Bergen Record called Clayton's bassline "ominous".[20] Stokes described it as "the antithesis of [U2's] bright, ringing, optimistic, inspirational selves, it was dirty, loud, discordant, repetitive, noisy, black. If the intention was to invoke a sense of evil abroad, then it was effective".[5] Graham said "'Exit' should have exploded the myth of U2 as the nice guys of rock. Never had they shown such a vicious streak or produced such a withering track.... Far more than even 'Bullet the Blue Sky', [the Edge's] playing is scratching at the prison bars of polished good taste", describing it as the wild card of the album.[11] Author John Luerssen contrasted it to the rest of the band's catalogue, saying "Unlike most of the songs U2 had written up to this point, 'Exit' lacked any optimism."[4] Hot Press contributor Colm O'Hare felt the claims by Bardo evoked memories of Charles Manson's use of "Helter Skelter", and contained "even more sinister shades" of the death of John Lennon.[21] In Rolling Stone, Steve Pond argued it was "awkward enough to remind you that not even Patti Smith could regularly pull off this sort of thing."[22]

Although "Exit" was not released as a single it charted in the Netherlands, peaking at number 46 after two weeks.[23]

Live performances

"Sometimes Bono would come offstage in the break and would not have left character. The darkness would still be there with him. Sometimes it was hard for him to shake it off and get into playing the next songs. That darkness has a certain kind of adrenaline."

—The Edge[24]

U2 debuted "Exit" on 8 March 1987 for a broadcast of The Old Grey Whistle Test. Bono introduced it as "a song about a religious man, a fanatic, who gets into his head the idea he calls 'the hands of love'."[25] It was next performed on 2 April 1987 in Tempe, Arizona, during the first concert of The Joshua Tree Tour. Clayton noted that the manner in which they created the song inadvertently caused a problem for U2, saying "when you're in a touring situation you have to learn numbers that were never actually written so much as spontaneously created."[1] "Exit" was played at all 109 concerts on the tour, and was frequently followed by a snippet of the Them song "Gloria", which was written by Van Morrison[26] Following the conclusion of the Joshua Tree Tour, U2 performed "Exit" on only one more occasion; 14 October 1989 in Melbourne, Australia, on the Lovetown Tour, almost two years after the previous performance of the song.[27] In 2007, U2's manager Paul McGuinness said that the song had been "slightly tainted" after the trial of Robert John Bardo, speculating that it had fallen out of favour with the band following the incident.[28]

In 2006, Bono stated "When things aren't going right and I'm feeling like we're not communicating, I go through terrible things on stage." He likened his emotions on those occasions to "a big blackness", and found that performing the song helped him to purge them from his mind on some occasions.[29] Several scenes in the 1988 film Rattle and Hum depict Bono with his arm in a sling, a result of his falling and dislocating his shoulder during a performance of "Exit" on 20 September 1987 in Washington.[30] The concert was being filmed for the movie, and the Edge stated that "the show was not going well".[31] Bono fell while running across the stage "in an attempt to try and get something going". Recalling the incident, Bono said "['Exit'] had taken me to some ugly place... but it was rage that caused it. That was when I realized rage is an expensive thing for your general well-being."[31] On another occasion he said "I just want to take a bath after we do that. I just want to wash it off my skin."[32] Graham wrote that "performances of 'Exit' would grow ever more fraught and purgative."[11]

David Zimmerman of USA Today believed the live performance of "Exit" helped to showcase Mullen's drumming skills, which he described as "more assertive than ever".[33] McLeese described the live rendition as "harder, more aggressive and more explosive than much of the band's earlier music."[34] Jon Bream of the Star Tribune said "it galvanized the crowd in much the same way that U2 had in its legendary performances at Live Aid in 1985", believing that it helped to focus the band's energy.[35]

A live performance of "Exit", recorded on 8 November 1987 in Denver, Colorado,[36][37] appears as the fourth song in the 1988 film Rattle and Hum.[38] Another live performance of the song, played on 4 July 1987 at the Hippodrome de Vincennes in Paris, was broadcast live on television.[39] It was later released on the video and live album Live from Paris in 2007.[40]

Trial of Robert John Bardo

Main article: Robert John Bardo

Robert John Bardo, an American from Tucson, Arizona, became obsessed with actress Rebecca Schaeffer in 1986 after sending her a letter that same year. After witnessing her in a love scene in the 1989 film Scenes from the Class Struggle in Beverly Hills, Bardo stated that the film "ruined this innocent image of her."[41] He paid a private investigator to find out her home address and began to stalk her, and on 18 July 1989, he travelled to Shaeffer's home and murdered her.[42]

Park Elliott Dietz, a psychiatrist who had worked on the case of John Hinckley, Jr. following his assassination attempt on President Ronald Reagan, was assigned to work with Bardo.[43] He told that court that Bardo claimed "Exit" had influenced his actions.[43] According to the Associated Press, when the song was played in court "Bardo, who had sat motionless through the trial, sprang to life... He grinned, bobbed to the music, pounded his knee like a drum and mouthed the lyrics."[44] Bardo was convicted of first-degree murder.[43]

Bono said he did not feel responsible that a U2 song was used in a murder defence, but stated "I still feel that you have to go down those streets in your music. If that's where the subject is taking you, you have to follow. At least in the imagination. I'm not sure I want to get down there to live. I'll take a walk occasionally, and have a drink with the devil, but I'm not moving in with him."[32] The Edge said that the song's defence in the trial was "very heavy", stating "Should any artist hold back from putting out something because he's afraid of what somebody else might do as a result of his work? I would hate to see censorship come in, whether from the government or, from my point of view, personal."[45]

Personnel

References

Footnotes
  1. 1 2 3 4 5 6 McCormick (2006), p. 184
  2. ↑ Averill, Steve (1987). The Joshua Tree Tour programme. p. 45
  3. 1 2 3 4 King, Philip, and Nuala O'Connor (directors) (1999). Classic Albums: U2 – The Joshua Tree (Television documentary). Isis Productions.
  4. 1 2 Luerssen (2010), pp. 192
  5. 1 2 3 4 5 6 Stokes (2005), p. 76
  6. ↑ Irwin, Colin (14 March 1987). "Once, we were asked to set up an audience with the Pope...". Melody Maker.
  7. ↑ Chipkin (1999), p. 78
  8. ↑ Graham, Bill (February 1987). "The Joshua Tree". Hot Press. Archived from the original on 26 September 2011. Retrieved 26 September 2011.
  9. ↑ Clayton, Adam (2007). The Joshua Tree (20th anniversary edition box set). U2.
  10. ↑ McLeese, Don (12 April 1987). "The Pride and Passion of U2: The Irish rock band goes out on a limb with new 'Joshua Tree' album and tour". Chicago Sun-Times. p. 1.
  11. 1 2 3 Graham (2004), p. 35
  12. ↑ Werther (2006), pp. 205-206
  13. ↑ Hogg, Colin (20 March 1987). "Album review: The Joshua Tree". The New Zealand Herald. Archived from the original on 1 February 2011. Retrieved 1 February 2011.
  14. ↑ Infusino, Divina (8 March 1987). "U2 climbs to top with `Joshua Tree'". The San Diego Union-Tribune. p. E1.
  15. ↑ Perry, Tony (19 March 1987). "Record Reviews: The Joshua Tree". The Patriot-News. p. C2.
  16. ↑ Samuels, Lennox (5 April 1987). "U2's Latest LP: Variation on a Theme". The Dallas Morning News. p. 10C.
  17. ↑ Washburn, Jim; Davis, Noel (20 March 1987). "Bono and Co. keep their passion, yet sound fresh and alive, with 'Joshua Tree'". Orange County Registrar. p. 38.
  18. ↑ Duffy, Thom (22 March 1987). "U2". Orlando Sentinel. Archived from the original on 26 September 2011. Retrieved 26 September 2011.
  19. ↑ Harrington, Richard (22 March 1987). "U2 Can Be Famous; Breaking Into the Big Time With 'Joshua Tree'". The Washington Post. p. G1.
  20. ↑ Jaeger, Barbara (15 September 1987). "U2's Potent Performance Retains a Special Intimacy". The Bergen Record. p. D11.
  21. ↑ O'Hare, Colm (21 November 2007). "The Secret History of 'The Joshua Tree' 15/18". Hot Press. Archived from the original on 26 September 2011. Retrieved 26 September 2011.
  22. ↑ Pond, Steve (9 April 1987). "Review: The Joshua Tree". Rolling Stone (497). Archived from the original on 30 January 2010.
  23. ↑ "U2 – Exit". Hung Medien. Archived from the original on 1 February 2011. Retrieved 1 February 2011.
  24. ↑ Flanagan (1996), p. 52
  25. ↑ de la Parra (2003), p. 78
  26. ↑ de la Parra (2003), pp. 79-121
  27. ↑ de la Parra (2003), pp. 126-128
  28. ↑ Paul McGuinness; John Caddel (9 December 2007). Interview with Paul McGuinness (Radio broadcast). Dublin: Phantom FM. Dublin Rock Radio Ltd. Event occurs at 39:43.
  29. ↑ McCormick (2006), p. 189
  30. ↑ Briggs, Tracy Wong (22 September 1987). "Bono's Boo-Boo". USA Today. p. D1.
  31. 1 2 McCormick (2006), p. 192
  32. 1 2 Jackson, Joe (August 1993). "Bono vs. The Beast". Musician.
  33. ↑ Zimmerman, David (6 April 1987). "U2 on tour: The tumble and the triumph". USA Today. p. D1.
  34. ↑ McLeese, Don (30 April 1987). "U2's dreams make emotional connections". Chicago Sun-Times. p. 59.
  35. ↑ Bream, Jon (4 November 1987). "U2 goes full speed ahead after a slow start". Star Tribune. p. 11B.
  36. ↑ de la Parra (2003), pp. 115-116
  37. ↑ McGee (2008), p. 112
  38. ↑ U2, Phil Joanou (Director) (1988). Rattle and Hum (Film). Paramount Pictures.
  39. ↑ de la Parra (2003), p. 107
  40. ↑ U2 (2007). Live from Paris (DVD). Mercury Records.
  41. ↑ Austin, David (18 July 1990). "Longing, obsession and an actress' death: Robert John Bardo says his infatuation with Rebecca Schaeffer dominated his life". The Oregonian. p. A1.
  42. ↑ Trebe, Ann (23 October 1991). "On trial in killing of `Sister Sam' star". USA Today. p. D2.
  43. 1 2 3 Deutsch, Linda (29 October 1991). "Obsessed Fan Convicted in Slaying of Actress Rebecca Schaeffer". Associated Press.
  44. ↑ "Fan convicted of murdering television actress". The Globe and Mail. Associated Press. 31 October 1991. p. C5.
  45. ↑ Flanagan (1996), p. 51
  46. 1 2 The Joshua Tree (Vinyl). U2. Island Records. 1987.
Bibliography
  • Chipkin, Kenn (1999). U2 - The Joshua Tree: Authentic Record Transcriptions. London: Alfred Music Publishing. ISBN 978-0-7119-1315-8. 
  • de la Parra, Pimm Jal (2003). U2 Live: A Concert Documentary (second ed.). New York: Omnibus Press. ISBN 978-0-7119-9198-9. 
  • Flanagan, Bill (1996). U2 at the End of the World (Paperback ed.). New York: Delta. ISBN 978-0-385-31157-1. 
  • Graham, Bill; van Oosten de Boer, Caroline (2004). U2: The Complete Guide to Their Music. London: Omnibus Press. ISBN 0-7119-9886-8. 
  • Luerssen, John D. (2010). U2 FAQ. Milwaukee: Backbeat Books. ISBN 978-0-87930-997-8. 
  • McGee, Matt (2008). U2: A Diary. London: Omnibus Press. ISBN 978-1-84772-108-2. 
  • Stokes, Niall (2005). U2: Into The Heart: The Stories Behind Every Song (Third ed.). New York: Thunder's Mouth Press. ISBN 1-56025-765-2. 
  • U2 (2006). McCormick, Neil, ed. U2 by U2. London: HarperCollins Publisher. ISBN 0-00-719668-7. 
  • Werther, David (2006). "Chapter 15: Aristotle, U2, and the Abolition of Man". In Wrathall, Mark A. U2 and Philosophy: How to Decipher an Atomic Band. Popular Culture and Philosophy. 21. Chicago: Carus Publishing Company. ISBN 978-0-8126-9599-1. 

External links

This article is issued from Wikipedia - version of the 5/9/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.