U2 – Boy Review

Where U2 may now be defined by iPods, charitable works and cover album catastrophes, the band in their earliest form, on debut release Boy, is far removed from their modern-day image. There is a harshness to their wordplay, a strength in the instrumental resolve of their punk-like tones and the progression of their rock sound can be heard immediately evolving. Even in this earliest form, the industrial tinge to their instrumental build on opener I Will Follow, a sense of what the band has always stood for is right there for the taking. It is not that U2 has not evolved but their conviction and belief in what they were taught, what they have learned, is complete. Innovative and erratic choices are made and they remain charming, from the smashed bottles to the stairwell percussion, it all, somehow, makes sense as a choice for Boy.  

Catchy riffs are a real winner for Boy, with plenty to love about the little pangs of punk heard on Twilight. The Edge is in fine form for these earliest works, riff after riff of ultimately brilliant work. Bono on the repetitive vocals does well to hammer home the point of these early, often inspired songs. Boy meets man, the pursuit of growth and the shock of getting so old, so quickly, is not lost on Boy or the album as a whole. Its concept of rapid ageing and the inability to stop it is marvellous and fearsome. Follow-up An Cat Dubh has all of what dedicated fans love about U2. Well-layered instrumental purpose, a sense of defined achievement and vocal glories from Bono, whose dog growl interjection pairs well with the stripped-down art-rock The Edge delivers. Adam Clayton and Larry Mullen Jr. are thoroughly deserving of praise for their rhythm throughout Boy, particularly with Into the Heart.  

Punk tones from the band feel like a breath of fresh air ahead of their pop-oriented works. Boy is filled with punchy, hammering instrumental works which are as catchy as they are essential early works from Bono. B-Side flair continues on Boy with the heavy punches of percussion on Another Time, Another Place, standing out most of all. Tired mornings and the turn against routine can be heard right at the core of this one, a tremendous and somewhat hostile occasion. Lighter material precedes it but within is a consistency most bands must work for long after their debut album comes and goes. No, Boy is a collection of assured and best-of moments from the earliest days of U2.  

It certainly helps to have a forty-song pool to select from, but such is the prolific style of U2 around this time. Their efforts here are the best selections, no doubt about it. One of the strongest debut albums around even if the latter half falls off a bit. Not because of any downgrade in the lyrical portions or the skilful playing from the rest of the band, but because of its inability to differentiate itself from the rest of the album. Standouts like The Electric Co. are more than enough to win back the thrills, though, and from there, U2 goes on with a stronger sense of what they wish to be. Closer Shadows and Tall Trees blurs all those influences U2 were depending on at the time and out comes a fresh wave of sound. A new push from a band that would go on to redefine pop rock and carve out a marvellous sound. Remembering where it started, Boy, is not too difficult when paying closer attention to their work.