Listening to the new “Sometime You Can't Make It On Your Own” is like running into an ex who is barely recognizable. The new “One” is a little marred by a choir effect, but it is such a beautiful song that it could be remade as a punk tune and it would still sparkle. “Get Out of Your Own Way” is remade as a Mumford & Sons tune, in a good way, and the new “Stuck in a Moment” is a folkish prayer, the structure holding. “Desire” has Bono high in his falsetto against a strummy dulcimer and the effect is hypnotic. “I Still Haven’t Found What I’m Looking For,” gets a cowboy vibe and unexpected honky-tonky electricity. “Every Breaking Wave” is cinematic, like something that should run over the end credits when an anguished drama has faded to black. Many reworkings are relatively straight-forward, like “Cedarwood Road,” “Peace on Earth,” “Bad” and “I Will Follow.” Most have a stripped-down feel, which gives Bono's voice little shelter amid moody keyboards or choppy acoustic guitar.
And would you believe the new “The Miracle (Of Joey Ramone)” might be better than the one on “Songs of Innocence”? One of the band's earliest hits - “11 O'Clock Tick Tock” - is smoother, slower and cleaner than the original.
The new “Vertigo” has Middle Eastern instrumentations, while an acoustic guitar-driven “Sunday Bloody Sunday” sounds more like something from a coffeehouse open-mic night than a strident arena-ready demand. There are triumphs and a few fumbles, but there's a growing realization that the architecture of these songs is strong indeed, even with some new lyrics.
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