Chords for U2 ONE - A Story of One (Part 1 of 2)

_ _ _ _ [Gb] _ _ _
[Bbm] 3, 2, 1,
COME HERE!
[Ab] _ _ _
_ 2!
December [Db] 1989 saw the last of the great Love [Ab] Town residencies
play out with U2 and special guest [E] B.B. King
doing four shows in Dublin's Point Depot,
the last of which kicked off at [Gb] midnight on New Year's Eve
[E] and was broadcast all over [E] Europe.
I was under the waves before love rescued me
Had _ to turn on the thread
Now I stand accused of the things I've said
For U2 it had been quite a decade
and by the time [Eb] Bono stood at the microphone
and told the faithful [Ab] that the band needed to go away
and dream it all up again,
those who were listening properly could [Db] only agree.
_ _ [Ab]
This was a tired bunch of people.
[N] Some 12 months later the band had decamped
to Hansa Studios in Berlin,
enlisted the services of Messrs.
Eno and Lanois
and were deep in the process of discovering
that saying you're going to dream it all up again
and actually doing it are two very different things.
_ In the beginning, by common consent,
the Hansa sessions were fraught.
There were arguments, recriminations,
a lack of direction, of cohesion, of songs.
And then, just when there was real doubt
about the future of the band,
that there even was a future for the band,
a song arrived unannounced and unexpected,
but very welcome.
One was the turning point,
one was the new beginning,
one was the start of [G] the dream.
_ _ _ [Am] November 1991 saw the [Dm] completed album
Ochtung Baby hit the streets.
One was to be the second [F] release from the album,
with the band electing to donate the proceeds of the single
to [Am] various AIDS-related charities.
They also [Dm] asked photographer Anton Corbin
to come up with some [F] ideas for a video,
which Anton was delighted to [G] do.
And then they set off back to Berlin
to [Am] film Anton's rather risqué approach for the piece.
Here come the babes.
[F] Whoo! _ _
[G] It was hard.
You know, it can be done totally [C] wrong,
like every idea on paper.
[Am] I mean, that's why I actually don't make treatments,
[F] because an idea that you [C] write down on paper
is very hard for other people to imagine _ in their head.
So I'd rather [F] talk a little bit about it
than [D] _ if they trust [B] me.
And usually I work with people that totally trust me.
And then you can get [Am] things out of it that make it good.
You know, [D] if I would read something like
[F] a dress-up in drag
and [G] boyfriend-girlfriend [C] situation in a brothel,
[A] I think I would totally freak out.
Did I [D] disappoint you?
_ _ [F] Or leave a bad taste [G] in your mouth?
_ _ [Am] _ I have no concept of what it's [D] going to turn out like.
I'm at a stage [F] now
that I think that's the [G] future for YouTube.
I'm sick of sitting around [C] and editing sweeps,
and _
[Am] getting really hands-on with [F] all these kinds of things.
I think the way [C] forward is just
to find people who you trust
and just [Am] let them do it and see what happens.
And then fire them and [F] start all over again. _ _
[C] _ _ _ [D] The band had known [Am] and worked with Anton for [D] years.
They did trust him, they were friends.
[F] Also, by this stage, they knew Berlin well
[G] and they were comfortable back in [G] Hansa.
So, despite [A] the jokes, there was no real sign of trouble ahead.
[D] And anyway, there weren't just dresses in the video.
[F] There were trappies, too.
The trabants [G] were my idea.
And the trabants, apparently, they thought were [A] very odd,
initially, [D] but later it started to work for them in this song.
[F] _ To the lepers [G] in your head
I want you to play a shot.
[C] Ed's idea was to paint it,
which [Am] is at least half the idea, I guess.
[F] I really thought the trabant_
I like _
[C] playful things.
There was a playful thing, a visual element,
that also stood for the [Am] fall of the East.
It was [F] like a status symbol.
At the same time, [C] I felt we needed to go less serious. _ _
[Am] Yo, here we go.
Please turn [C] off the camera.
This is much more to do with a sex [Am] change than an oil change.
The band really wanted to do something in [G] Berlin.
I took it as a love song
and Bon explained to me more.
It's also about other things,
but [F] a son who's dying of AIDS,
talking to his father.
So, [C] after talking to him, we got his [Am] father in.
_ That was his [C] idea.
And Hansa was their idea,
because I'm not a great believer in performance videos.
_ _ [Abm] We were at the risk of people
_ imagining we [Gb] were saying something
_ about the AIDS issue
through the drag footage,
[Gb] which was totally not what we were trying [Ab] to say.