Spanish Eyes

Starting off almost Boy-like with its lone delayed guitar hanging seemingly in rhythmic ether, “Spanish Eyes” launches into a subtly funky although slightly generic song. It’s also a song that stops pretty abruptly too; the average Joshua Tree fan is probably more than ready for the song to rip into a solo a la “In God’s Country“, but they don’t get it, instead receiving that reverb into finality. The song’s most notable musical feature, ultimately, is the drive to it – if the Joshua Tree and the songs around that era (b-sides, outtakes etc.) made up one big film, I’d imagine that the typical scenes – yer “Streets”, “Still Haven’t Found”s and suchlike – would feature big, slow camera pans across epic scenery, occasionally swooping in and out, up and down to emphasise that yes, such landscape is really, really big. “Spanish Eyes”, on the other hand, seems to be designed for the scene involving a car racing down the interstate through said grand scenery.

Lyrically, it’s a no-brainer about Ali Hewson, who also gets a similar but smaller reference in “In A Little While”. Most notable lines include Wey hey hey, here she comes/She comes in colors/You know she gonna turn the daylight on, which seems to vaguely conflate “Hallelujah (Here She Comes)” and “Mysterious Ways”; a reminder once again that Achtung Baby wasn’t a complete break from the 1980s, just the side of U2, brought to the fore, that most fans probably suspected they didn’t have.


~ by 4trak on May 14, 2008.

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