Boy is the debut studio album by the Irish rock band U2. It was produced by Steve Lillywhite and was released on 20 October 1980 by Island Records. Boy contains songs from the band's 40-song repertoire at the time, including two tracks that were re-recorded from their original versions on the group's debut release, the EP Three.
Boy was recorded from July to September 1980 at Dublin's Windmill Lane Studios, which became U2's chosen recording location during the 1980s. It was their first time working with Lillywhite, who employed non-standard production techniques, such as recording drummer Larry Mullen Jr. playing in a stairwell, and recording smashed bottles and cutlery skimmed against a spinning bicycle wheel.McCormick (2006), pp. 96–100 The band found Lillywhite to be very encouraging and creative, and he subsequently became a frequent producer of their recorded work. Thematically, the album's lyrics reflect on adolescence, innocence, and the passage into adulthood,Jobling (2014), pp. 65–68 themes represented on its cover artwork through the photo of a young boy's face.
Boy received generally positive reviews and included one of U2's first singles to receive airplay on US radio, "I Will Follow". The release was followed by the band's first tour of continental Europe and the US, the Boy Tour.de la Parra (2003), pp. 16–17 The album peaked on the UK chart at number 52 in August 1981 and in the US at number 63. In 2003, Boy was ranked 417th on Rolling Stones list of "The 500 Greatest Albums of All Time". In 2008, a remastered edition of the record was released.
Background
Originally, Boy was slated to be produced by Martin Hannett, an in-demand producer at that time for his critically acclaimed work with Joy Division. Hannett had produced U2's first single with Island Records, "11 O'Clock Tick Tock", but the band did not enjoy working with him, and the prospect of him producing the album was abandoned by Island due to the band's objections. Hannett was also severely affected by the May 1980 suicide of Joy Division frontman Ian Curtis, the distress of which temporarily impaired his ability to work.McCormick (2006), pp. 56, 58, 96 Island A&R representative Nick Stewart said: "Martin by that stage was unwell; he seemed to be suffering from a little overdose of one thing or another."
Looking for a replacement producer, Island sent a copy of U2's first release, the EP Three (1979), to Steve Lillywhite to gauge his interest in working with them. Listening to the record, he "liked the voice" but thought "it didn't sound very good". Before deciding whether to work with the group, he wanted to see them perform live to figure out a potential creative approach he could take in studio. After visiting Ireland to attend a concert of theirs at a small school hall, Lillywhite was convinced to come on board, thinking, "Oh my God, there's something about this". He subsequently agreed to produce a single for them, "A Day Without Me". Although the song failed to chart,McGee (2008), p. 32 U2 found they could work amicably with Lillywhite and agreed to have him produce their debut studio album.
Recording Boy was recorded at Windmill Lane Studios in Dublin from July to September 1980. Lillywhite was displeased with how the "A Day Without Me" single had sounded, particularly the drums, and decided to change how he recorded the band for the rest of the album. He found Windmill Lane Studios to be "very, very dead sounding" and thought it was more conducive to capturing quiet recordings of folk music than the energy of rock music; engineer Kevin Moloney concurred, calling the studio a "late '70s design, a very wooden dead kind of room". At that stage in his career, Lillywhite was interested in capturing "3D sound" that conveyed a perspective to the recording. While walking through the stone-walled reception area of the studio, he was impressed with how the space sounded and decided to record drummer Larry Mullen Jr.'s drum kit in the area's stairwell. Using microphones hung from the ceiling at the top of the stairwell, Lillywhite recorded what he described as "this wonderful clattery sound". They had to wait until the studio's receptionist went home in the evenings to record the drums, as the phone rang during the day. Even in the evenings, they were not allowed to disable the phone's ringer, resulting in it occasionally interrupting recording in the middle of a take. Mullen found the arrangement strange at first, as he was still acclimating to working with his bandmates together in a studio when Lillywhite set him up separate from the others.
Lillywhite employed a creative, experimental approach as the producer, recording smashed bottles and silverware skimmed against a spinning bicycle wheel for sound effects. The band found him to be very encouraging; lead vocalist Bono called him "such a breath of fresh air", while guitarist the Edge said he "had a great way of pulling the best out of everybody". The group's rhythm section struggled to keep time at that stage in their career, forcing Lillywhite and Moloney to spend extensive amounts of time at night splicing tape of the multi-track recordings to create drum loops that would be in time. Lillywhite recorded several bass parts played by Adam Clayton in order to teach Clayton the bassline that he ultimately wanted to be played. The approach necessitated Clayton recording many overdubs. With the band members still inexperienced at that point and manager Paul McGuinness giving them autonomy in their music-making process, Lillywhite speculated that he had more influence over the sound of Boy than any other producer of any other U2 album.
Some of the songs, including "An Cat Dubh" and "The Ocean", were written and recorded at the studio. Many of the songs were taken from the band's 40-song repertoire at the time, including "Stories for Boys", "Out of Control" and "Twilight". Without much studio time, the band quickly recorded each song, before spending a few hours on overdubs and moving onto the next song. Bono had not finalized his lyrics prior to the recording sessions; during the group's earlier live performances, he often changed lyrics from concert to concert, owing to his lack of interest in lyric writing. The procrastination forced him to finish missing couplets in the studio while his bandmates were busy recording guitars and percussion. Bono was displeased with the vocal performances that he gave in the studio when wearing headphones, and as a result, he changed his approach to sing into a handheld microphone in the control room while listening to playback of the music at high volume. After about six takes of each song, Lillywhite would edit together a composite vocal track of the best parts, after which Bono would listen back and replicate the results by singing another six takes.
Composition and songwriting The Edge recorded all the songs using his Gibson Explorer guitar, and he drew inspiration from music he was listening to at the time, including Television and early Siouxsie and the Banshees.Morley, Paul. Boy remastered 2008 Liner Notes, Mercury Records Ltd (London), ASIN: B0013LPS6Q When asked by Elvis Costello about the band's musical influences at the time, the Edge explained: "I think we were influenced a lot by music that was rooted in Europe, the German sort of sensibility, the music of Neu! and Kraftwerk, which was about a different sort of way of using chord changes and a sort of nihilistic approach to the backbeat", "and the UK bands", "like [Siouxsie and] the Banshees, probably Echo & the Bunnymen" "and Magazine".
The album's theme is the psychological nature of the transition of adolescence from childhood to manhood, with lyrics and atmospheric music examining a dawn of sexuality ("An Cat Dubh"), the entry into adolescence ("Twilight"), mortality ("Out of Control"), the exile from one's past enforced by the passage of time ("Into the Heart"), mental disturbance ("The Electric Co.") and youthful ambition ("The Ocean"). "I Will Follow" focused on the trauma of the early death of Bono's mother when he was 14 years old. The album's lyrics contain several literary references. For example, "Shadows and Tall Trees" takes its name from a chapter title in the dystopian William Golding novel Lord of the Flies, and "The Ocean" mentions Oscar Wilde's novel The Picture of Dorian Gray.
Music author and ambient historian Mark Prendergast writes that Boy has "an aquatic quality, contrasting anthemic rock songs with brooding instrumental passages of spray, fine drizzle and lapping waves". He further highlighted Lillywhite's addition of musique concrète sounds, namely milk bottles and scraped bicycle spokes, to "I Will Follow", and commented that the Edge's "unconventional approach" to his Gibson Explorer throughout the record "was to eschew blues influences for echoed chords and sustained harmonics. He used a system of two Vox amplifiers coupled to two Memory Man echo units linked to a switchbox connected to his guitar." Music critic Mark Cooper reflected that "U2's sound seemed to have come out of nowhere"; he added that the album's "drive and exuberance belongs to punk", citing Mullen's crashing drums, the more glam-derived riffs of the Edge, and the chorus of "Stories for Boys" for their similarities with punk's "football terrace" sound, but commented that the band's "emotional palette" was distinct from punk: "Here was a music thriving on teenage spiritual awakenings with a musical approach that owed next to nothing to tradition."
Artwork The model boy on the cover is Peter Rowen, the younger brother of Guggi, Bono's friend and a former member of the Virgin Prunes. Peter also appeared on the covers of Three, War, The Best of 1980–1990, the unreleased Even Better than the Early Stuff,Stealing Hearts at a Travelling Show official U2 book, p. 101, 2003 Early Demos and many singles. The photographer, Hugo McGuiness, and the sleeve designer, Steve Averill (a friend of Clayton), went on to work on several more U2 album covers.
For the American release and other international distributors, the album's cover image was changed, due to Island Records' fears that it could be perceived as pedophilic.McGee (2008), p. 41 The label's in-house designer Bruno Tilley commissioned artist and photographer Sandy Porter to design the new cover. The two were given a very limited budget, precluding them from traveling to U2 and taking photos of them, leaving them with little choice but to use photos of the four band members from a prior shoot. Tilley visited Porter in London to collaborate on the cover. Porter's initial idea was to distort the images and create a "more graphic, stylised piece of artwork", leading to several experiments. These included: photocopying the images and pulling them during the scanning; using a photographic enlarger while moving the baseboard; and photographing the image prints using long exposure while moving them. The result of these processes gave Porter the "raw material" to continue, though some areas of the images did not distort well and were subsequently marked up with a black pen. Taking inspiration from the Lord of the Flies reference in the song "Shadows and Tall Trees", Porter selected four "rough and distorted images that had a feel how the sea washes and distorts marks in the sand". He then cut the images with a scalpel, spray mounted them, and further "copied, printed, touched up, recopied and printed" them onto high-contrast photographic paper.
Release Boy was released on 20 October 1980 in the UK, and 3 March 1981 in the US. The album reached number 52 in the UK. In the US, it peaked at number 63 on the Billboard 200, but after the success of U2's later material, it re-entered the American charts for a lengthier spell. In the band's native Ireland, the album reached number 13, and it placed highest in Canada at number 12. The original releases of Boy sold nearly 200,000 copies.