{"id":69402,"date":"2026-07-28T17:37:27","date_gmt":"2026-07-28T17:37:27","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/07\/28\/u2-bob-dylan-peter-gabriel\/"},"modified":"2026-07-28T17:37:27","modified_gmt":"2026-07-28T17:37:27","slug":"u2-bob-dylan-peter-gabriel","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/07\/28\/u2-bob-dylan-peter-gabriel\/","title":{"rendered":"U2, Bob Dylan, Peter Gabriel"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI want to make music that will take people to another place beyond their understanding,\u201d <a href=\"https:\/\/www.rollingstone.com\/t\/daniel-lanois\/\" id=\"auto-tag_daniel-lanois\" data-tag=\"daniel-lanois\">Daniel Lanois<\/a> says, \u201cfor them to feel that a record will be a reliable transporter.\u201d He\u2019s talking about <em>Belladonna Nocturne<\/em>, his gorgeous new instrumental album, where each track is a unique, nearly tactile soundscape. But he\u2019s always applied applied that same philosophy to his work as a producer of world-shaking albums, including <a href=\"https:\/\/www.rollingstone.com\/t\/u2\/\" id=\"auto-tag_u2\" data-tag=\"u2\">U2<\/a>\u2018s <em>The Joshua Tree<\/em> and <em>Achtung Baby<\/em>, <a href=\"https:\/\/www.rollingstone.com\/t\/peter-gabriel\/\" id=\"auto-tag_peter-gabriel\" data-tag=\"peter-gabriel\">Peter Gabriel<\/a>\u2018s <em>So<\/em>, and <a href=\"https:\/\/www.rollingstone.com\/t\/bob-dylan\/\" id=\"auto-tag_bob-dylan\" data-tag=\"bob-dylan\">Bob Dylan<\/a>\u2018s <em>Oh Mercy<\/em> and <em>Time Out of Mind.<\/em>\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.megaphone.fm\/IMP6500398610\" frameborder=\"no\" height=\"200\" scrolling=\"no\" width=\"100%\"><br \/>\n<\/iframe>\n<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn the new episode of <em>Rolling Stone Music Now<\/em>, Lanois goes deep on the making of his new album, along with his collaborations with Dylan, Gabriel, U2, Neil Young, and D\u2019Angelo, and much more. To hear the whole episode, go <a href=\"https:\/\/link.chtbl.com\/iw8-QbwN\" rel=\"nofollow\" target=\"_blank\">here<\/a> for the podcast provider of your choice, listen on <a href=\"https:\/\/podcasts.apple.com\/us\/podcast\/rolling-stone-music-now\/id1078431985\" rel=\"nofollow\" target=\"_blank\">Apple Podcasts<\/a> or <a href=\"https:\/\/open.spotify.com\/show\/0jCfnXfdYhwIM2I4x7SxZx\" rel=\"nofollow\" target=\"_blank\">Spotify<\/a>, or just press play above. Here are some highlights from the discussion:<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Lanois thinks Jimi Hendrix would want to know how he made the new album\u2019s \u201cWarp Sustain.\u201d<\/strong> \u201cThat\u2019s a dive bomb performance on a pedal-steel guitar,\u201d he says. \u201cAs I hear it now, I think it\u2019s the deepest and most yearning piece on the record. I recorded it and put it away for a while, and when I got back to it, I thought, \u2018Wow, this thing is really rocking, and the emotion is very deep.\u2019 And it\u2019s a singular instrument with lots of processing. If I could align myself with Jimi Hendrix for a second, I think that Jimi might say, \u2018Way to go, Danny. How\u2019d you make that one?&#8217;\u201d<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Daniel Lanois - Warp Sustain (Official Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/VJq3bn07xvw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>One of D\u2019Angelo\u2019s final releases, 2018\u2019s \u201cUnshaken,\u201d from the <em>Red Dead Redemption 2 <\/em>soundtrack, came together with Lanois after the singer rejected another track.\u00a0<\/strong>\u201cI met him at the Rockstar Games office in Manhattan,\u201d Lanois recalls. \u201cAnd we hit it off nicely, and I played him a track that I had at the time. It\u2019s a 6\/8 rock song that he loved, and he said he would be happy to work on that with me. So that\u2019s what we initially went to do together. And that track did not pan out. He worked on it for a couple of days. He said, \u2018Dan, I\u2019m not really getting anywhere with this.\u2019 And I said, \u2018Well, D, we\u2019re here to have a good time and get to a special place.\u2019 So I said, \u2018Give me a day, and I\u2019ll come up with another track.\u2019 And I built a new track for him\u2026 \u200aD was very touched by my having worked with the Neville Brothers. He was a fan of the Neville Brothers.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Lanois still hangs out with Billy Bob Thornton, who enlisted him to score 1996\u2019s <em>Sling Blade<\/em>. <\/strong>\u201cWhat was special about <em>Sling Blade<\/em> was the one-on-one relationship I had with Billy,\u201d says Lanois. \u201cI don\u2019t remember there being a lot of opinions going around or music supervisors and all that kind of stuff. I just saw Billy last week in Texas, and we sat on a little porch together, and it might as well have been a Diane Arbus photograph. Couple of lost misfits on a back porch philosophizing about this and that and the other thing. It was pretty great. Time stands still with Billy. That\u2019s what I like about him.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>In Dylan\u2019s 2004 memoir, <em>Chronicles<\/em>, he writes that Lanois smashed\u00a0a dobro during the <em>Oh Mercy<\/em> sessions<\/strong> \u2014\u00a0<strong>the producer explains why.<\/strong>\u201cIt was simply about, I wanted to keep pushing for the private part of the record,\u201d says Lanois, who recalls that Dylan wanted to get more outside players involved. \u201cBob was playing a great part on his guitar that I wanted him to finish. And he thought it would be better if we got somebody else. I said, \u2018No, we\u2019re not gonna get somebody else. We\u2019re gonna get the man himself, Bob Dylan, to play the part.\u2019 So that\u2019s it. By Dobro or otherwise.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Lanois partially blames himself for \u201cSeries of Dreams\u201d getting left off <\/strong><strong><em>Oh Mercy<\/em><\/strong><strong>.<\/strong> \u201cThe only regret I have on that album is we excluded one of my favorite tracks, which was \u2018Series of Dreams,&#8217;\u201d he says. \u201cI have to take some responsibility with that. You know, I think I did say to Bob that it was reminiscent of things I had done for other people on other records. And the part of me that likes works to be completely original cast a shadow of doubt on it, and he might have listened to that, and so I should have gaffered my face, and I didn\u2019t.\u201d<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Lanois isn\u2019t happy about the 2023 <a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/bob-dylan-time-out-of-mind-bootleg-series-1234666125\/\">remixes<\/a> of <em>Time Out of Mind<\/em> that removed much of the 1997 album\u2019s signature sound.<\/strong> \u201cI got a call from Wim Wenders when that came out \u2019cause I hadn\u2019t listened to it yet,\u201d he says. \u201cAnd he said, \u2018Daniel, I\u2019ve gone back to listening to the original of that record because I couldn\u2019t even listen to these remixes \u2019cause the feeling was not there.\u2019\u2026 I can only assume that this happened after Bob sold his catalog and whatnot, and those folks were probably looking to make a few bucks back and decided let\u2019s do a remix.\u201d He adds that the people involved \u201cmight\u2019ve done well to take a look in the mirror and say, \u2018Well, I don\u2019t think I bettered it.\u2019 And that might\u2019ve been the most courageous thing to do, just to say, \u2018Lanois got it right,\u2019 and leave well enough alone, and it\u2019s a masterpiece, and let\u2019s throw confetti and bust out the rum.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Peter Gabriel\u2019s <em>So<\/em> was made in a cow barn.<\/strong> \u201cWe worked together for a year almost to the day, which was apparently a fast pace for Peter,\u201d Lanois says. \u201cAnd I loved him like a brother, and it was very much a one-on-one. David Rhodes lived around the corner \u2014 Peter\u2019s guitar player. So it was largely Peter and myself, and then David Rhodes would come over, and then we were the Three Stooges. We had a good time. We wore hard hats to work, and it was a very nice vibe. And this place was right out in the middle of the country, and we were in a cow barn. And it\u2019s not a glamorous studio by any means, and I was OK with that. And we put the glamour in the music rather than the curtains.\u201d<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>The philosophy that helped create U2\u2019s <em>Achtung Baby <\/em>was simple.<\/strong> \u201cYou got [Brian] Eno, me, Flood, and all we ever cared about is soul and originality,\u201d says Lanois. \u201cWhat can we do that\u2019s never been heard before?\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Lanois has a theory about why Dylan is wearing a hoodie every night onstage on his current tour. <\/strong>\u201cMaybe he doesn\u2019t like his hair right now,\u201d he says with a laugh. \u201cYou know, I\u2019m doing the beanie, he\u2019s doing the hoodie.\u201d<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/daniel-lanois-interview-u2-bob-dylan-peter-gabriel-1235599311\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cI want to make music that will take people to another place beyond their understanding,\u201d Daniel Lanois says, \u201cfor them to feel that a&#8230;<\/p>\n","protected":false},"author":5,"featured_media":69403,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-69402","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/69402","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=69402"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/69402\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/69403"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=69402"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=69402"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=69402"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}