13 April 1989
We’ve already seen how U2 followed the lead of George Michael’s 1987 one-word abstract-noun Bo-Diddley-beat rock ‘n’ roll throwback ‘Faith’ with ‘Desire’. Now we have this other Rattle And Hum single which, like George’s duet with Aretha Franklin on ‘I Knew You Were Waiting For Me’ a year or so earlier, sees U2 latching on to a legendary US performer for some reflected iconic glow and a quick ‘in’ to a lucrative American demographic. Who knew U2 were such fans of George Michael?
We can absolve B.B. King of any responsibility for ‘When Love Comes To Town’. He shows up, does what he does well, keeps his dignity, gains some new fans in the process, and hopefully also gets a well-deserved wedge for his retirement fund. This is just a poor song, a rock chunder, and that’s all down to U2. If B.B. King did indeed tell Bono his lyrics were deep he was just being polite; it’s all cliches about sailors lost at sea, trains, flames, red sunsets, juke joints and wedding gowns, plus the usual self-flagellating Christian rock stuff about being there when they crucified the Lord. Bono also treats us to more of his awful late-’80s constipated, straining vocals in the name of American rock ‘n’ roll, man. In truth, movies like Leap Year and Wild Mountain Thyme are America’s retaliation for U2 making ‘When Love Comes To Town’.
On top of the song, the whole ambience-chasing vibe of Rattle And Hum is rotten anyway: wheel in a blues legend and pretend to be a blues band; record in Sun Studio and make like you’re Elvis; shove a Harlem gospel choir onto your Christian rock song and summon the spirit of Billie Holiday. More accurately, visit Elvis’s grave in Graceland and come across as stoopider than Spinal Tap. U2 in Rattle And Hum are the most unlikeable, most joyless and least self-aware band ever. Edge, play the blues.
