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Maybe if I Walk These Streets Again

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1987 single by U2

"Where the Streets Have No Proper name"
Where the Streets Have No Name.png
Single by U2
from the album The Joshua Tree
B-side
  • "Race Against Time"
  • "Silverish and Gold"
  • "Sweetest Affair"
Released 31 August 1987[one]
Recorded 1986
Studio Windmill Lane Studios (Dublin)
Genre Rock
Length
  • four:46 (single version)
  • 5:36 (anthology version)
Label Island
Songwriter(due south)
  • U2 (music)
  • Bono (lyrics)
Producer(due south)
  • Daniel Lanois
  • Brian Eno
U2 singles chronology
"I Still Haven't Found What I'm Looking For"
(1987) 		"Where the Streets Have No Name"
(1987) 		"In God'south Country"
(1987)
Music video
"Where the Streets Have No Proper name" on YouTube

"Where the Streets Accept No Proper name" is a vocal by Irish rock ring U2. It is the opening track from their 1987 album The Joshua Tree and was released equally the anthology's tertiary single in August 1987. The song'due south claw is a repeating guitar arpeggio using a filibuster effect, played during the song's introduction and over again at the end. Lead vocalist Bono wrote the lyrics in response to the notion that it is possible to place a person'due south religion and income based on the street on which they lived, peculiarly in Belfast. During the band's difficulties recording the song, producer Brian Eno considered erasing the song's tapes to have them beginning from scratch.

"Where the Streets Have No Name" was praised by critics and became a commercial success, peaking at number 13 in the United states, number xiv in Canada, number ten in kingdom of the netherlands, and number four in the United Kingdom. The song has remained a staple of their live act since the song debuted in 1987 on The Joshua Tree Tour. The song was performed on a Los Angeles rooftop for the filming of its music video, which won a Grammy Award for Best Functioning Music Video.

Writing and recording [edit]

The music for "Where the Streets Take No Name" originated from a demo that guitarist The Edge composed the night before the group resumed The Joshua Tree sessions. In an upstairs room at Melbeach House—his newly purchased home—he used a four-track tape machine to record an arrangement of keyboards, bass, guitar, and a drum machine. Realising that the anthology sessions were approaching the end and that the ring were brusk on infrequent live songs, he wanted to "conjure upwards the ultimate U2 live-song", and then he imagined what he would like to hear at a future U2 show if he were a fan.[2] Afterwards finishing the crude mix, he felt he had come up with "the most amazing guitar office and song of [his] life". With no one in the house to share the demo with, he recalls dancing effectually and punching the air in celebration.[2]

Although the ring liked the demo, it was hard for them to record the song. Bassist Adam Clayton said, "At the time information technology sounded similar a foreign linguistic communication, whereas now we understand how information technology works".[2] The system, with 2 time signature shifts and frequent chord changes, was apposite many times, but the grouping struggled to become a performance they liked.[2] According to co-producer Daniel Lanois, "that was the science project song. I call up having this massive schoolhouse blackboard, as nosotros telephone call them. I was holding a arrow, similar a higher professor, walking the band through the chord changes like a fucking nerd. Information technology was ridiculous."[iii] Co-producer Brian Eno estimates that half of the album sessions were spent trying to record a suitable version of "Where the Streets Have No Name".[4] The band worked on a single take for weeks, but every bit Eno explained, that particular version had a lot of issues with information technology and the group connected trying to fix it up.[4] Through all of their work, they had gradually replaced each instrument take until nil remained from the original performance.[5]

So much time had been spent on "screwdriver work" that Eno idea it would exist all-time to outset from scratch. His idea was to "stage an accident" and have the song's tapes erased.[iv] He said that this was non to force abandonment of the song, but rather that information technology would be more effective to kickoff over again with a fresh performance.[4] At one point, Eno had the tapes cued up and ready to be recorded over, only this erasure never took place; according to engineer Overflowing, young man engineer Pat McCarthy returned to the control room and upon seeing Eno prepare to erase the tapes, dropped the tray of tea he was carrying and physically restrained Eno.[four]

The studio version of the song was compiled from several different takes.[ii] It was i of several songs mixed by Steve Lillywhite in the final months of recording The Joshua Tree.[4] [6] Drummer Larry Mullen Jr. afterwards said of the song, "It took so long to get that vocal right, it was hard for us to brand whatever sense of it. Information technology just became a truly great song through playing live. On the record, musically, it'due south not half the song it is live."[2]

Limerick [edit]

"Where the Streets Take No Proper name" is played in the central of D major at a tempo of 126 beats per infinitesimal.[eight] The introduction and outro are played in a 3
4 time signature,[8] while the remainder of the song is in a common 4
iv signature.[nine] The song opens with an instrumental section, starting with chorale-similar sustained synthesiser notes. The guitar fades in after 40 seconds;[10] this part consists of a repeated "chiming" six-annotation arpeggio. A "dotted 8th" filibuster effect is used to "play" each note in the arpeggio twice, thus creating a rich sound.[11] [vii] The bass and drums enter at 1:10.[10]

The introduction, following a I–4–I–IV–half dozen–V–I chord progression, creates a "wall of sound", as described by Marking Butler, confronting which the vocals emerge afterward nearly ii minutes.[12] The guitar office played for the remainder of the song features The Border strumming percussive sixteenth notes. The bass and drums go along in regular eighth and sixteenth notes, respectively, while Bono'southward vocal operation, in contrast, varies greatly in its timbre, ("he sighs; he moans; he grunts; he exhales audibly; he allows his vox to crack")[12] likewise as timing by his usage of rubato to slightly outset the notes he sings from the beat.[12]

This development reaches a climax during the first chorus at the line "burning down love" (A–G–F ♯ –D); the melody progresses through a series of scale degrees that lead to the highest note in the song, the A4 at "burning". In subsequently choruses, Bono sings "blown by the wind" with the same melody, stretching the aforementioned note even longer. After the 3rd chorus, the song'due south outro is played, the instrumentation reverting to the aforementioned state as information technology was in the introduction, with a six-note guitar arpeggio played against sustained synthesiser notes.

"'[Where] the Streets Take No Proper noun' was the perfect introduction. Information technology is ane of the almost extraordinary ideas, only matched by The Doors' 'Break on Through (To the Other Side)' as a throw-down to an audience. Do you want to go at that place? Because if you do, I'm prepare to go at that place with yous, to that other place. Phone call it what y'all similar, a place of imagination, where there are no limitations."

—Bono[ii]

Lyrics [edit]

The lyrics were inspired by a story that Bono heard most Belfast, Northern Republic of ireland, where a person'south faith and income were axiomatic by the street on which they lived.[xiii] He assorted this with the anonymity he felt when visiting Ethiopia, maxim: "the guy in the song recognizes this contrast and thinks near a world where there aren't such divisions, a place where the streets accept no proper noun. To me, that's the way a bully stone 'n' ringlet concert should be: a identify where everyone comes together... Maybe that's the dream of all art: to break downwardly the barriers and the divisions betwixt people and touch upon the things that matter the most to united states all."[xiv] Bono wrote the lyrics while on a humanitarian visit to Ethiopia with his wife, Ali; he first wrote them downward on an airsickness bag while staying in a village.[15]

Co-ordinate to him, the song is ostensibly virtually "Transcendence, elevation, whatever you lot desire to call it."[sixteen] Bono, who compared many of his lyrics prior to The Joshua Tree to "sketches", said that "'Where the Streets Have No Name' is more like the U2 of onetime than any of the other songs on the LP, because information technology'southward a sketch—I was simply trying to sketch a location, maybe a spiritual location, perchance a romantic location. I was trying to sketch a feeling."[13]

The open-ended nature of the lyrics has led to many interpretations. Journalist Michael Campbell believed the lyrics ship "a message of promise" and wish for a "globe that is non divided by class, wealth, race, or any other arbitrary criterion".[17] With regard to the place Bono was referring to in the song, he said, "I'm not sure, actually, about that. I used to think it was Belfast..."[16] Journalist Niall Stokes believes the title was influenced by Bono's and his wife Ali'due south visit to Ethiopia as volunteer aid-workers. Bono has expressed mixed opinions about the open-concluded lyrics: "I can wait at it now and recognize that [the song] has one of the about bland couplets in the history of pop music. Just it also contains some of the biggest ideas. In a curious way, that seems to work. If you become any mode heavy about these things, you don't communicate. But if yous're flip or throwaway about it, then you do. That's one of the paradoxes I've come to terms with."[18]

In a 2017 interview, Bono said he still felt that the song'southward lyrics were incomplete, stating "lyrically it's just a sketch and I was going to go back and write it out". He expressed regret for rhyming "hibernate" with "inside". Still, the Border disagreed with his comments, stating that he loves the vocal and that Bono is "very hard on himself". Eno responded by commending the "incomplete" lyrics considering he feels "they allow the listener to cease them".[19]

Release [edit]

Originally, the 3rd single from The Joshua Tree was meant to be the song "Red Loma Mining Town", but "Where the Streets Have No Name" was released instead, in August 1987.[13] The single was released on 7-inch, 12-inch, cassette and CD single formats.[twenty] Three B-sides were featured on the single, including "Race Against Time", "Silvery and Gold", and "Sweetest Thing", except for the seven-inch release, which just featured the latter two tracks.[20] The 12-inch single featured "Race Against Time" on side A of the record (despite existence a "B-side"),[21] and the cassette unmarried featured all four tracks on both sides of the tape.[22] Although non equally successful as the album's get-go ii singles, the song did chart well. In the U.S., the song peaked at number 13 on the Billboard Hot 100[23] and number 11 on the Anthology Rock Tracks charts.[24] The song reached number four on the UK Singles Chart,[25] and information technology topped the Irish Singles Chart.[26]

Music video [edit]

The Grammy Award-winning music video, featuring the band's performance on a Los Angeles rooftop.

The video begins with an aerial shot of a block in Los Angeles, and clips of radio broadcasts are heard with disc jockeys stating that U2 is planning on performing a concert downtown and expecting crowds of xxx,000 people. Police bear witness up to the set and inform the band's crew of the security upshot that the film shoot is causing.

Two minutes into the video, U2 are seen on the roof of a liquor store at the corner of 7th St. and S. Main St., and perform "Where the Streets Have No Name" to a big crowd of people continuing in the streets surrounding the building. Towards the finish of the song, the police tell the crew that the operation is near to be shut downwards, and eventually law walk onto the roof while the oversupply are booing the police.

The video for "Where the Streets Have No Proper noun" was directed by Meiert Avis and produced by Michael Hamlyn and Ben Dossett. The ring attracted over 1,000 people during the video's filming, which took place on the rooftop of a liquor store in Downtown Los Angeles on 27 March 1987.[27] The band's operation on a rooftop in a public place was a reference to the Beatles' final concert, as depicted in the motion-picture show Let Information technology Be.[28]

"The object was to shut downwardly the streets. If there's one thing people in LA hate, information technology's streets endmost down, and we've always felt bands should milkshake things upward. We achieved it because the police stopped us filming. Were we worried about beingness arrested? Non at the time..."

—Adam Clayton[29]

During the shoot U2 played an viii-song fix, which included four performances of "Where the Streets Have No Name".[28] Prior to filming, a week was spent reinforcing the roof of the liquor store to ensure it would non plummet if it were to be intruded by a group of fans. A fill-in generator was put on the roof so the shooting could proceed in the upshot that the authorities shut off the ability on the primary generator, which happened during filming.[thirty]

The depiction of the law attempting to shut down the filming due to safety concerns really happened during filming, only as seen in the video. Hamlyn was near arrested post-obit a confrontation with the police.[31] According to Avis, the events depicted in the video prove what actually happened that day "almost in existent time", and that "getting busted was an integral part of the plan."[30] Ring manager Paul McGuinness revealed in 2007 that much of the confrontation with the constabulary was exaggerated; the group were hoping to get shut down by the authorities in lodge to dramatize the music video, but the police continually gave them extensions for shooting the video.[32] In the background of the video is a sign for The Million Dollar Hotel, which was rebuilt to create some interest, in instance no 1 showed up at the moving-picture show shoot.[30] Although the video is of a live operation, the sound used is from the studio-recorded version of the song.[33] The video won the Grammy Accolade for All-time Operation Music Video at the 1989 Grammy Awards.[34]

B-sides [edit]

"Race Against Time" was released on the 12-inch, cassette, and CD versions of the unmarried.[twenty] The song developed from the ring'southward interest in urban funk, and was described past The Border every bit "a kind of Afro-rhythmic slice" and "a study in rhythm."[35] [36] The bass riff in the song, inspired past the bodhrán, was played by The Edge, simply stemmed from some of Clayton's unused bass parts. Mullen's drum office was recorded in a single take. The vocal is primarily an instrumental slice but does contain some lyrics inspired by Bono'due south trip to Ethiopia after Alive Assist and his witnessing immediate the famine in occurrence; these lyrical references include Bono singing in an Ethiopian linguistic communication and following it with the phrase "Race confronting time".[36] Bono said of the vocal, "It reminds me of the desert. The desert is so empty, but it aches with a strange kind of fullness."[36] John Hutchinson of Musician magazine described the vocal as having an "African flavour" and every bit being reminiscent of Peter Gabriel.[36] The runway was used in the Miami Vice episode "Kid'southward Play",[37] [38] and is the only one of the single's B-sides that was never played live.[39]

"Silver and Gilded" was written in support of the Artists United Against Apartheid project, which protested the S African apartheid. In 1985, Bono participated in Steven Van Zandt'south anti-apartheid Sun Urban center project and spent time with Keith Richards and Mick Jagger of The Rolling Stones. When Richards and Jagger played blues, Bono was embarrassed by his lack of familiarity with the genre, equally most of U2'south musical knowledge began with punk rock in their youth in the mid-1970s. Bono realised that U2 "had no tradition", and he felt as if they "were from outer infinite". This inspired him to write the blues-influenced song "Silver and Gold", which he recorded with Richards and Ronnie Wood.[40] Information technology was re-recorded by U2 for the "Where the Streets Have No Name" single while the band returned to Dublin in May 1987 during a break between the first and second legs of The Joshua Tree Tour.[41] The song was described past Musician as "tough and raw, with Bono in husky and confident voice, underpinned past a sinuous bass line, and with The Edge demonstrating his newfound prowess in dejection-based guitar."[36] "Silver and Gilt" was played live on The Joshua Tree Tour several times, one operation of which was featured on the band's 1988 album and rockumentary, Rattle and Hum. Both the studio recording and the Sunday City versions were later featured on the bonus disc of the 20th anniversary edition of The Joshua Tree.[42] The studio version was also included on the limited edition B-sides bonus deejay of the band'due south offset compilation album, The All-time of 1980–1990.[43]

"Sweetest Thing" was written by Bono equally an amends to his married woman for forgetting her birthday.[44] The vocal opens with a short piano piece before the rest of the band begins to play. Some of Bono's lyrics have been described as reminiscent of John Lennon.[36] The Border described information technology equally "a beautiful song... which is pop as it should be—non produced out of existence, but pop produced with a real intimacy and purity", also noting that "It's very new for us."[36] It was re-recorded with some lyrical alterations and released in 1998 as a single in its ain right for The All-time of 1980–1990. Hot Press editor Niall Stokes stated that this runway, along with "Race Confronting Time", is "an indicator of what U2 might have fabricated instead of The Joshua Tree."[35]

Reception [edit]

Upon the release of The Joshua Tree, critics praised "Where the Streets Take No Name". Steve Morse of The Boston Globe noted the "bell-like tones from the Edge fram[e] a search for heaven" and along with the subsequent track on the album, "I Still Oasis't Found What I'm Looking For", these songs showed how the group were "pilgrims still on a quest; not preachers who claim to have found answers".[45] The Bergen Tape echoed these sentiments, maxim the tracks demonstrated how the band was on a personal and spiritual quest.[46] Rolling Rock called it "assertive rock" in their review of The Joshua Tree.[47] The San Diego Union-Tribune said of "Where the Streets Have No Name", "the music charges, like someone fleeing for life".[48] The Washington Post said the rail is "a bit oblique lyrically, but the implications are clear in Bono'southward resolute delivery, Dave (the Edge) Evan'due south quavering guitar, Adam Clayton'southward cathedral bass and Larry Mullen's rolling thunder drums".[49]

NME lauded the vocal every bit the opening rail by saying the album "starts by spitting furiously". The publication praised Bono'due south impassioned singing and The Edge's guitar playing, which transformed the instrument into "something more an endlessly abused piece of wood". The review commented that the "final ten seconds are breathtakingly beautiful".[fifty] The Rocket wrote that the vocal builds a "wall of audio" that Bono's vocals cut through with a "wail of agony, equally the lyrics agonize the need for personal spirituality". The reviewer compared the opening riff to Elementary Minds' "Ghostdancing".[51] Reviewing The Joshua Tree, Stephen Thomas Erlewine of Allmusic chosen the vocal an "ballsy opener".[52] The service'southward Steve Huey, in a review of the song, praised its "insistent, propulsive rhythmic drive and anthemic chorus", qualities he singled out for making it a fan favorite. He called the song the "perfect anthology-opener", crediting the "boring build of its organization toward a climactic elevation". Huey likewise chosen Bono'south delivery "passionate and grandiose" and "his commitment to the material unshakable". He believed the combination of his vocals and the ring's "sonic power" is what gave U2 its "tremendous force".[53]

Live performances [edit]

"Where the Streets Take No Proper noun" made its concert debut on 2 April 1987 at Arizona State University Activity Centre in Tempe, Arizona on the opening dark of The Joshua Tree Tour. A version featuring an extended introduction was performed on the closing nights of the 3rd leg of The Joshua Tree tour, again in Tempe, Arizona, on December nineteen & 20, 1987, and footage from the performance was featured in the Rattle and Hum moving-picture show. The song has since been played at nigh every full-length concert that U2 has headlined, totaling upwards of 900 performances as of 2017[update].[54] The vocal is widely regarded as one of the grouping's most popular alive songs.[53] Bono said of information technology, "We tin be in the middle of the worst gig in our lives, but when nosotros become into that song, everything changes. The audience is on its feet, singing along with every discussion. It'south like God suddenly walks through the room."[55]

On The Joshua Tree Tour, "Where the Streets Have No Proper noun" was virtually oft used to open concerts.[56] Fans and critics responded favourably to the song in a live setting. The San Diego Matrimony-Tribune wrote that, "From the lofty sonic opening strains of [the song], this audience was upward, ecstatic and inflamed."[57] NME wrote that the song is one such occasion where "the power afforded their songs is scary", noting that during the song's opening, "the loonshit ERUPTS".[58] In other reviews, the song was called: "uplifting",[59] "exhilarating",[60] and "powerful".[61] Out of the 109 shows during The Joshua Tree Tour, "Streets" was played at all except 12 of the concerts.[62] During the Lovetown Tour which took place in 1989 and the outset of 1990, "Streets" was merely left out of the set list at i of the 47 concerts.[63]

The song was performed at every show on the 1992–1993 Zoo TV Tour.[64] Concerts from this tour were elaborate multimedia spectacles that Bono performed as a diverseness of characters, but for the finish of the main set up, the group reverted to playing classics, including "Where the Streets Have No Proper name", straight. Some of these performances of the vocal were accompanied by footage of the group in the desert from The Joshua Tree 's photo shoot.[65] The video was speeded up for humorous issue—NME described the event as giving it a "silly, Charlie Chaplin quality"—and Bono often acknowledged his younger cocky on the video screens.[66] [67] This video would make a return during performances on the 2010 and 2011 legs of the U2 360° Tour. Some of the Zoo Television performances of the song had a more electronic trip the light fantastic music organization that diameter a resemblance to the Pet Shop Boys' synthpop encompass of the song (titled "Where the Streets Have No Name (I Can't Take My Eyes off Yous)").[68] [69] [70] Bono parodied this by occasionally adopting the deadpan vocal way used in the Pet Shop Boys' interpretation.[71] Critics welcomed the song in the group's ready list: The Independent said the song "induces instant euphoria, as U2 do what they're best at, slipping into epic rock mode, playing music made for the arena".[72] In ii other local newspaper reviews,[73] [74] critics praised the song'due south inclusion in a sequence of greatest hits.

For the PopMart Tour of 1997–1998, U2 returned to the electronic dance arrangement they occasionally played on the Zoo Tv set Tour.[75] The set's massive video screen displayed a video that Hot Press described as an "astonishing, 2001-manner trip into the heart of a swirling, psychedelic tunnel that sucks the audition in towards a horizontal monolith". Near the cease of the song, peace doves were shown on the screen and bright beams of light flanking the set's golden curvation were projected upwards. Hot Press said the event transformed the stadium into a "UFO landing site".[76]

Shortly earlier the third leg of the Acme Tour, the September 11 attacks occurred in New York City and Washington D.C. During the band'southward offset show in New York Urban center following the attacks, the band performed "Where the Streets Have No Proper name", and when the stage lights illuminated the audience, the band saw tears streaming downwards the faces of many fans.[77] The experience was i inspiration for the song "Urban center of Blinding Lights".[78] [79] The band paid tribute to the 9/11 victims during their performance of the vocal at the Super Bowl XXXVI halftime show on three Feb 2002. The operation featured the names of the September 11 victims projected onto a large white banner behind the band, and concluded with Bono opening up his jacket to reveal the Star Spangled Banner. U2's appearance was later ranked number 1 on Sports Illustrated 's list of "Height 10 Super Bowl Halftime Shows".[80]

For the Vertigo Tour, the group originally considered dropping the song from their set lists, but Mullen and Clayton successfully argued against this.[15] All 131 of the Vertigo Tour concerts featured a performance of the song,[81] which were accompanied by the phase's LED video defunction displaying African flags. On the bout's opening nighttime, this reminded Bono that he had originally written the lyrics in an Ethiopian village. He thought this visual accompaniment fabricated the song come full circle, maxim, "And here it was, nearly twenty years later, coming back to Africa, all the stuff nigh parched lands and deserts making sense for the first time."[15] The song was also played at the preview screening of the ring'due south concert film U2 3D at the 2007 Cannes Film Festival.[82] At the Glastonbury Festival 2010, The Edge accompanied rock ring Muse for a live embrace version of the track,[83] afterward playing it with U2 while headlining Glastonbury in 2011.

During the Joshua Tree Tour 2017, "Where the Streets Take No Name" leads off the centre act of the testify, the sequential playing of the Joshua Tree anthology.[84] Information technology is accompanied by the first of several short films depicting desert landscapes that were created past photographer Anton Corbijn.[85]

Live performances of "Where the Streets Have No Name" announced in the concert video releases Rattle and Hum,[86] Zoo TV: Alive from Sydney,[87] and PopMart: Live from Mexico Metropolis,[88] also as the respective audio releases of the latter two concerts, Zoo Television set Alive [89] and Hasta la Vista Baby! U2 Live from Mexico City.[ninety] A 2d version from the PopMart Tour was featured on Delight: PopHeart Alive EP,[91] and later on the U.S. "Please" unmarried.[92] A alive recording from Boston during the Elevation Tour was featured in the concert film Elevation 2001: Live from Boston,[93] and on the "Walk On"[94] and "Electric Tempest"[95] singles. The concert video and anthology U2 Go Home: Live from Slane Castle, Ireland featured some other performance from the Height Tour,[96] and later performances were featured in the concert films Vertigo 2005: Live from Chicago [97] and U2 3D [98] (Vertigo Tour), and U2 360° at the Rose Basin [99] (U2 360° Bout). The 2004 digital anthology, Alive from the Betoken Depot, contains a performance from the Lovetown Tour, but bachelor as part of The Complete U2 digital box fix.

Legacy [edit]

Ironwork displaying lyrics from "Where the Streets Accept No Proper name" at a Dublin pub.

In 2002, Q mag named "Where the Streets Take No Name" the 16th-"nigh heady tune ever".[100] The following year, Q ranked the song at number 459 in a special issue of the "1001 All-time Songs Ever".[101] Three years afterward, the mag's readers voted the track the 43rd-greatest song in history.[102] Rolling Stone ranked the song at number 28 on its list of the "100 Greatest Guitar Songs of All Fourth dimension."[103] In a 2010 poll past fan site @U2, approximately 29% of 4,800 respondents named "Where the Streets Have No Name" as their favourite song from The Joshua Tree, ranking it every bit the most pop song from the album.[104] Result of Sound ranked the song 63rd on its 2012 list of the "100 Greatest Songs of All Fourth dimension".[105] That same yr, Camber Magazine published a list of its "100 Best Singles of the 1980s" and placed "Where the Streets Have No Name" 63rd.[106] In 2014, NME ranked the song 404th on its listing of the "500 Greatest Songs of All Fourth dimension".[107] In 2019, Rolling Stone ranked the song number 6 on their listing of the fifty greatest U2 songs,[108] and in 2020, The Guardian ranked the song number one on their listing of the twoscore greatest U2 songs.[109]

Track list [edit]

No. Title Writer(s) Producer Length
one. "Where the Streets Have No Name" (unmarried version) U2 Daniel Lanois, Brian Eno 4:46
2. "Race Confronting Time" U2 U2, Daniel Lanois, Brian Eno 4:04
iii. "Silvery and Gold" Bono U2 four:36
4. "Sweetest Affair" U2 U2, Daniel Lanois, Brian Eno 3:03

Credits and personnel [edit]

Charts [edit]

Weekly charts [edit]

Yr-terminate charts [edit]

Certifications [edit]

Run into besides [edit]

  • List of cover versions of U2 songs#Where the Streets Have No Proper name

References [edit]

Footnotes

  1. ^ Sams, Aaron; Kantas, Harry. "U2 – "Where the Streets Have No Proper noun" Unmarried". U2songs.com. Retrieved 25 May 2016.
  2. ^ a b c d e f m McCormick (2006), pp. 184-185
  3. ^ O'Hare, Colm (28 Nov 2007). "The Surreptitious History of 'The Joshua Tree'". Hot Printing. Vol. 31, no. 23. Archived from the original on 24 Oct 2012. Retrieved 27 April 2011.
  4. ^ a b c d east f Philip King and Nuala O'Connor (directors) (1998). Archetype Albums: U2 The Joshua Tree (Television documentary). Eagle Rock Amusement.
  5. ^ Eno, Brian (2007). The Joshua Tree (20th ceremony edition box set). U2.
  6. ^ McGee (2008), p. 98
  7. ^ a b Gulla 2009, p. 64.
  8. ^ a b "U2 – Where the Streets Have No Proper noun Canvas Music". Musicnotes. 10 Baronial 2009. Retrieved 2010-04-29 . Notation: Software required to view the page.
  9. ^ "U2 – Where the Streets Accept No Name Sheet Music". Musicnotes. x August 2009. Retrieved 2010-04-29 . Notation: Software required to view the page.
  10. ^ a b The Joshua Tree (CD). U2. Isle Records. 1987. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  11. ^ Huey, Steve. "Song Review: Where the Streets Have No Name". Allmusic. Retrieved 2007-11-03 .
  12. ^ a b c "Where the Streets Accept No Name". U2.com. Alive Nation. Retrieved 2010-03-28 .
  13. ^ Hilburn, Robert (25 December 1987). "U2's Bono Hewson pours drama into rock". Chicago Sun-Times. p. 83.
  14. ^ a b c McCormick (2006), p. 337
  15. ^ a b Bono (2000-xi-xviii). "Interview". 2CR FM (Interview). Bournemouth.
  16. ^ Campbell, Brody (2007), p. 433
  17. ^ Stokes (2005), p. 64
  18. ^ W, Rachel (20 July 2017). "Bono Says 'Where The Streets Have No Name' Is 'Unfinished'". Entertainment This evening Canada . Retrieved 17 September 2018.
  19. ^ a b c Stokes (2005), p. 206
  20. ^ U2. Where the Streets Have No Name (12-inch single). Island Records. 12IS 340.
  21. ^ U2. Where the Streets Take No Name (Cassette single). Island Records. CIS 340.
  22. ^ a b "U2 Chart History (Hot 100)". Billboard.
  23. ^ a b "U2 Nautical chart History: Mainstream Rock Airplay". Billboard . Retrieved xv April 2021.
  24. ^ a b "Official Singles Nautical chart Top 100". Official Charts Visitor.
  25. ^ a b "Irish gaelic Singles Nautical chart". The Irish Charts . Retrieved 23 November 2009. Note: U2 must be searched manually.
  26. ^ McGee (2008), p. 101
  27. ^ a b de la Parra (2003), p. 79
  28. ^ U2 (July 2010). "Stairway to Devon − OK, Somerset!". Q (288): 100.
  29. ^ a b c Avis, Meiert (2006). Where the Streets Have No Name. U218 Videos (DVD booklet). U2. Interscope Records. B0008081-09.
  30. ^ Dalton, Stephen (2003-09-08). "How the West Was Won". Uncut.
  31. ^ "The Joshua Tree". The Album Annal. 2007-12-09. Phantom 105.2. Retrieved 2011-02-xiii .
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Bibliography

  • Campbell, Michael; Brody, James (2007). Stone and Scroll: An Introduction (second ed.). Cengage Learning. ISBN978-0-534-64295-ii.
  • Cogan, Višnja (2008). U2: An Irish gaelic Phenomenon. Pegasus Books. ISBN978-one-933648-71-2.
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  • Gulla, Bob (2009). Guitar Gods: The 25 Players Who Made Stone History. Westport: Greenwood Press. ISBN978-0-313-35806-7.
  • McGee, Matt (2008). U2: A Diary. London: Autobus Press. ISBN978-1-84772-108-ii. OCLC 221160151.
  • Stokes, Niall (2005). U2: Into the Heart – The Stories Behind Every Song (tertiary ed.). New York: Thunder's Oral fissure Printing. ISBNi-56025-765-2. OCLC 61694066.
  • U2 (2006). McCormick, Neil (ed.). U2 past U2 . New York Urban center: HarperCollins. ISBN0-00-719668-7. OCLC 71354126.

External links [edit]

  • "Where the Streets Have No Proper name" at U2.com

starksmadentopere.blogspot.com

Source: https://en.wikipedia.org/wiki/Where_the_Streets_Have_No_Name

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