Modern Rock Tracks No. 1s - U2 and "Mysterious Ways"
The irresistible force of Nirvana gets slowed down by the immovable object of U2, who tops the charts for a then-record nine weeks with arguably the most infectious rock track off "Achtung Baby"
U2 - “Mysterious Ways”
Weeks atop the Billboard Modern Rock Tracks chart: 9 weeks (Nov. 30, 1991 to Jan. 25, 1992)
Previous Modern Rock #1 hit: Nirvana - “Smells Like Teen Spirit”
Next Modern Rock #1 hit: Talking Heads - “Sax and Violins”
Billboard Hot 100 chart toppers during this time:
P.M. Dawn - “Set Adrift On Memory Bliss” (11/30/91)
Michael Jackson - “Black Or White” (12/7/91 to 1/18/92 - 7 total weeks)
Color Me Badd - “All 4 Love” (1/25/92)
When I conceived of “Chart Chat” and a review of the #1 hits on the Modern Rock Tracks chart, I hadn’t taken the time to look over all the tracks I’d be reviewing. I knew about Siouxsie and the Banshees and how they were the first act to top that chart at its inception, but I didn’t give much thought to the progression of the charts over time.
So, in my mind, when we eventually got to a point where Nirvana was going to hit #1, I assumed that’d be the dividing line between the grunge section of the chart and everything that came before it. I had no idea there’d still be a good year or two before the chart would veer away from European and Australian acts and toward U.S. grunge and alt-rock mainstays.
In that way, it’s weird to me that Nirvana only managed one week atop the MRT charts with “Smells Like Teen Spirit,” a track I covered just last week. And even though they’ll have a few other chart toppers, I was surprised that none of them were generated off of “Nevermind,” the seminal album that launched so much of my music interest in my formative years.
So what held Nirvana back from the top spot during this lightning-in-a-bottle moment for that entire genre? A rad guitar riff, a belly dancer, and the freight-train momentum of U2 propelled even further by the second single off “Achtung Baby”: “Mysterious Ways.”
U2’s third stint atop the MRT chart would be the longest in the band’s career, spanning nine weeks. At the time, nine weeks would be the record for longest #1 song on the MRT chart, topping R.E.M.’s eight-week stay with “Losing My Religion.” As I noted last week, U2 and Nirvana would be neck and neck in the charts, holding down the #1 and #2 positions simultaneously for seven of those nine weeks “Mysterious Ways” topped the chart. If you were listening to the radio around this time, even on top-40 radio, you’d be hard pressed to go too long without hearing one of these two acts.
And I don’t want to take anything away from Nirvana’s masterpiece, but there’s a really good reason why U2’s song topped the charts for all those weeks: that guitar riff. You don’t even have to play the song to know exactly what I’m talking about. It roars in right from the outset and sets the pace for everything that comes after it, a sonic-boom, distorted yet natural in its own way. The Edge takes old-school rock and stylizes it for the time, and in that way it sounds both “of its era” and yet timeless.
When the riff disappears into Bono’s lyrics, there’s a realization that there’s a lot more going on behind the scenes in the song. The percussion has a slight conga-drum beat going on, and Adam Clayton’s bass line slaps while driving the sultry undertones of Bono’s vocals. And then The Edge comes back, that guitar singing in its digitalized wah-wah screech, building toward the refrain and marrying together all the individual instruments into something transcendent.
Maybe I’m overselling it a bit, especially for someone who’s not what you’d consider a hardcore U2 fan, but the track is both contemplative and explosive, with a hook that makes it a perfect radio song across genres.
If you want to kiss the sky, better learn how to kneel
On your knees, boy
She's the wave, she turns the tide
She sees the man inside the child
It's all right, it's all right, it's all right
She moves in mysterious ways, yeah
I’m on record as being a guy who’s not always able to glean the meaning behind lyrics, and while this seems straightforward, I could be way off base. This song seems to really put the spotlight on an otherwise naive young man who is in the throes of desire for a woman but seems timid and shy about the experience of getting close to a partner who is more experienced in the ways of life and love than he is. Bono’s impassioned plea to the young lad: Go for it! It’s all right. Even if she’s moving in ways you’re not familiar with, just submit and it’ll all be great!
Those lyrics turned out to be somewhat prescient in real life, as there was a love story to be had out of this song. The video features Morleigh Steinberg as the belly dancer, and while it’s Bono singing her praises in the song, it was The Edge who ultimately became swayed by her mysterious ways. The two became close later in the decade when Steinberg performed with the band on their Zooropa tour, and eventually their relationship turned into marriage in 2002. They’re still together to this day.
As for U2, this track further catapulted them into the international spotlight. “Achtung Baby” maintained its position in the top 10 of the Billboard 200 album chart through the end of 1991 into 1992, dominating along with Michael Jackson, Nirvana, and Garth Brooks during this period. “Mysterious Ways” hit #1 in four countries, including their native Ireland, and peaked at #9 on the U.S. Hot 100. The track ended up at #57 in Billboard’s year-end review of the best tracks of 1992 as well.
Of course, we’re not quite done with U2 and their dominance with “Achtung Baby” singles. In fact, there’s “one” in particular that is lauded by many to be U2’s greatest track of all time. I’m less bullish on that track, but we can discuss that one in a couple of weeks. As for “Mysterious Ways,” this is arguably one of the band’s finest tracks, displaying all parts of the band working together to create a sound that’s both uniquely theirs while also being emblematic of the musical styles of the early ‘90s.
Rating: 9/10
Chart Check: A look at other notable MRT chart songs from this time period
I’m going a little bit off script with this week’s Chart Check, as this time period highlights one of the biggest shifts in the history of the Billboard charts. There’s also a lot of star-gazing this week, a look at the blue Caribbean, something sweet and something sexy.
“Set Adrift On Memory Bliss” by P.M. Dawn: P.M. Dawn’s only Hot 100 chart topper did not make it to the Modern Rock Tracks charts, but I mention it here as a neat footnote in Billboard chart history. The week ending Nov. 30, 1991, was the first time the Hot 100 included scanned, digital sales data when tabulating the positions of tracks on the charts. They also discharged Michael Bolton from the top spot, so they deserve the attention even moreso.
“Caribbean Blue” by Enya: I find this absolutely fascinating. Nothing against Enya, who is a fine artist with music that definitely has a huge following around the world, but if you would have told me “Caribbean Blue” would be a high-charting track on modern-rock radio along with “Smells Like Teen Spirit” and Mysterious Ways,” I would have said you were crazy. Yet, here we are. Enya’s biggest follow-up single to “Orinoco Flow” peaked at #3 behind “Mysterious Ways.”
“Shining Star” by INXS: INXS released a live album, called “Live Baby Live,” in between their studio releases, and the one studio-recorded track on the album, “Shining Star,” found its way to a peak of #4 on the MRT chart behind U2. It’s fine.
“Star Sign” by Teenage Fanclub: Scottish rockers Teenage Fanclub put together a decent track with “Star Sign,” their debut on the MRT chart, and ultimately their commercial peak in the U.S. This song topped out at #4 behind U2.
“Divine Intervention” by Matthew Sweet: Matthew Sweet makes his Modern Rock Tracks chart debut with “Divine Intervention,” which peaked at #23 behind “Mysterious Ways.” It won’t be long before Mr. Sweet is back in this space, talking a little bit about someone’s girlfriend.
“I’m Too Sexy” by Right Said Fred: I know, right? I don’t even know what to say, so I’ll just say this: At some point, you could be listening to a modern-rock radio station in the early ‘90s and jumped between U2, Nirvana, Enya and Right Said Fred. This iconic pop hit managed a #28 peak on the MRT chart during U2’s run at the top, a song that was apparently too sexy to make much of a mark on alternative radio.
"Mysterious Ways" might be a 9/10 (for some) but "Set Adrift on Memory Bliss" is a 10/10 in my heart. Remember when he name checks Christina Applegate in the song, lol?