MLK, among so many other things, was music.
The rhythm and melody that permeated Martin Luther King, Jr. was evident not only in the way that he moved and spoke, but in the way that he inspired musicality in others. One of the greatest orators of our time ‚Äď or any other ‚Äď King‚Äôs mastery of language made his speeches lyrical as well as life-affirming.
In his non-violent pursuit of civil rights equality, an a cappella delivery of MLK‚Äôs words were sufficient to stir deep passions ‚Äď he didn‚Äôt sound like bagpipes or a cavalry bugle, but hearing his voice makes you immediately electrified, and once more strong for the fight.
It was an instrument that rightly won him the Nobel Peace Prize, and helped solidify his legacy as an intellectual leader for the ages via landmark speeches like ‚ÄúI Have a Dream‚ÄĚ, and so many more.
‚ÄúPride‚ÄĚ ‚Äď An Emotional Ride
It‚Äôs no surprise, then, that his influence is imprinted within what people traditionally refer to as music ‚Äď songs with singers, guitars, beats, bass, and keyboards. On the sampling front from Michael Jackson to Paul McCartney and Common, the Orb to Linkin Park and scores of others, MLK has served as a powerful sound source.
Arguably, one of the greatest-ever musical tributes to MLK stands out in the form of ‚ÄúPride (In the Name of Love)‚ÄĚ, U2‚Äôs masterpiece from the 1984 album The Unforgettable Fire. Riveting from Moment One, ‚ÄúPride‚ÄĚ is one of those cosmic confluences that defines a classic: the beautifully rhythmic¬† guitar work of the Edge, drummer Larry Mullen, Jr.’s big beat is simultaneously complex and simply satisfying, Adam Clayton‚Äôs musing bass foundation. And then Bono‚Äôs incomparable voice comes, starting off in the verse‚Äôs quiet awe before soaring to the hair-raising heights of the chorus.
‚ÄúPride‚ÄĚ is a structurally simple song, and this upward spiraling cycle gets broken only by the bridge. At the 1:40 mark appears what is certainly the most uncomplicated guitar solo arrangement ever recorded in the history of rock: eight consecutive repetitions of the same single note, exquisitely energized by the Edge‚Äôs unique battery of delay pedals and other effects.
If ‚ÄúPride‚ÄĚ is up your alley, then your experience of the song is 3:49 of perfection. Anywhere your ears land at any moment ‚Äď vocals, guitar, bass drums ‚Äď what you hear is deeply moving, and builds momentum as the song surges forward. The gang vocals that appear in the third chorus are the perfectly imperfect element that somehow takes ‚ÄúPride‚ÄĚ even higher, connecting band and listeners to the song‚Äôs history-changing hero ‚Äď a campfire singalong where 1,000,000 people can easily join hands.
As did MLK himself, the song accomplishes so much in such a short span of time. And in yet another parallel, rather than diminishing, the power of ‚ÄúPride‚ÄĚ only grows with repeated exposure.
View from the Studio
One person with a unique perspective on U2‚Äôs musical monument to MLK is the New York City-based engineer/mixer Kevin Killen. Working alongside The Unforgettable Fire co-producers Brian Eno and Daniel Lanois in his native Ireland, Killen was present for the numerous recording sessions that brought the song together.
As part of the engineering team that had recorded U2‚Äôs War record and Under a Blood Red Sky mini-LP live album, Killen had already been treated to a front-row seat of the band‚Äôs considerable capabilities. As is well-documented, The Unforgettable Fire‚Äôs first set of sessions took place at County Meath‚Äôs picturesque Slane Castle, enabled by a portable 24-track recording system supplied by Randy Ezratty‚Äôs mobile recording company Effanel Music. After a month of work at Slane, U2 and the rest of their crew relocated to the more controlled conditions of Dublin‚Äôs Windmill Lane Studios to finish the record.
Before it could reach the pristine state we hear today, Killen reminds that ‚ÄúPride‚ÄĚ had to overcome some serious struggles before its completion at Windmill Lane. ‚ÄúThere were two issues,‚ÄĚ Killen recalls, taking a break from a mix session at Ezratty‚Äôs studio in NYC‚Äôs Chelsea neighborhood. ‚ÄúBono hadn‚Äôt settled on finished lyrics for the song, and so we were constantly looking at the arrangement to see if there was something about it that was preventing him from getting the words finalized. And Larry‚Äôs drum part was proving to be tricky, especially getting the roll right going into the chorus.
‚ÄúBut then Bono was finally able to get the lyrics the way he wanted, and execute the track. It wasn‚Äôt one particular word that was a problem, so much as he was just trying to get the exact sentiment to express. He knew what he was trying to say, but he was challenged just trying to get the right thing.‚ÄĚ
The gestalt moment ‚Äď when Bono found what he was looking for ‚Äď was instantly apparent to everyone at Windmill Lane. ‚ÄúThe first time he sang the finished lyrics everyone in the control room looked at each other and said, ‚ÄėThat was definitely it,‚Äô‚ÄĚ says Killen. ‚ÄúIt was so obvious that he felt comfortable singing that lyric.‚ÄĚ
The poetic final lines had arrived. They were written about the great Martin Luther King, Jr., but they could have been said by him just as easily (and indeed three of them were), in one of his unforgettable speeches: ‚ÄúEarly morning, April 4/Shot rings out in the Memphis sky/Free at last, they took your life/They could not take your pride.‚ÄĚ
Much of ‚ÄúPride‚ÄĚ had already been recorded to that point ‚Äď suddenly the moment had arrived to launch it to the next level. An AKG C12 mic was waiting for Bono, connected to the preamp of an SSL E Series console with an LA-2A compressor inserted across the buss output.
As the singer was approaching the mic in the live room, Killen stepped up to the proverbial plate in the control room, one hand at the ready on the remote for the Otari MTR 90 tape machine ‚Äď the young engineer was poised to pop a punch-in that he‚Äôd never forget.
‚ÄúHe sang it in one take,‚ÄĚ Killen says. ‚ÄúI remember punching it in on the tape machine: Every hair on my body stood up. It was such a spine-tingling moment. He said something so concisely, so perfectly, about MLK‚Äôs life.‚ÄĚ
Killen had the extreme privilege that only an engineer, producer, and an artist‚Äôs bandmates can experience: to be there for the magic moments of a classic song‚Äôs studio recording, getting the very first listen of a sound that will reach millions of ears for years upon years.
And, of course, Killen wasn‚Äôt the only one whose spine tingled at the sound of ‚ÄúPride (In the name of Love)‚ÄĚ. Released as the lead single for The Unforgettable Fire in September 1984, it was the biggest hit yet for U2, breaking the top 5 in the U.K. and the Top 40 in the U.S. While its peak position on the Billboard Hot 100 was only #33, ‚ÄúPride‚ÄĚ was inexorably connected to turning U2 in what it is now ‚Äď a very, very, very big rock group.
‚ÄúWhen the band got here in 1984,‚ÄĚ says Killen, ‚Äúthere was a very positive reaction to that track. And that was a very special period, stemming from the fact that the band were trying to do something different from their previous three releases.
‚ÄúOn that tour, they went from playing small 2,500-seat theaters to 4,000-seat theaters. Six months after that, they were playing arenas, so U2 saw their own career take off from that album release, up to a different level. And when you see them play ‚ÄėPride‚Äô live, you realize that it‚Äôs bass, drums, guitars, vocals, and no embellishments. It just works very well — very powerful, and very emotional.‚ÄĚ
When great leaders emerge, their power to inspire action and art is a gift uniquely theirs to give the world. Growing up in Ireland, it’s reasonable to expect that Kevin Killen had no inkling that the life of Martin Luther King would help fulfill the aspiration held by so many in the music industry ‚Äď to have a role in the making of a timeless song.
‚ÄúAt the time that we work on them, most engineers hope for songs to become classics,‚ÄĚ says Killen, whose GRAMMY-winning career continues on, with hit records for clients including Peter Gabriel, Elvis Costello, Kate Bush, Jewel, Bon Jovi, Shawn Colvin, Shakira, Sugarland, Bryan Ferry, and Duncan Sheik. ‚ÄúWhen you get to be a part of one of them, or a number of them, it becomes pivotal in your career. You‚Äôre forever associated with the project, and that can never be taken away from you. Whether your participation was large or small, you‚Äôre always connected to it.
‚ÄúWhen I sit and listen to ‚ÄėPride‚Äô,‚ÄĚ he continues, ‚ÄúI can remember that pivotal sequence of events that occurred when the song went from being difficult to record, to being realized. You look around the room, and realize you‚Äôve captured a very special moment. That moment stays with you forever.‚ÄĚ
Engineers and producers who crave that sensation need no small amount of luck to be in that right place, at the right time. But Kevin Killen knows that audio pros who are focused on the music can also turn their quest for a classic into a self-fulfilling prophecy.
‚ÄúObviously, we all want to work with an artist that has something to say,‚ÄĚ he points out. ‚ÄúOur job is to somehow set the stage so they can truly express themselves in that environment, without judgment, and convey what they‚Äôre trying to get out there. If you can be a part of that process, it can be incredibly rewarding not just for yourself, but for the artist.‚ÄĚ
In a magic case of things coming full circle, one light that made MLK shine so brightly was that he enabled many millions to express who they truly were, as well.
Equipped with his voice and views ‚Äď and often aided by a microphone ‚Äď Martin Luther King, Jr. engineered a movement that unequivocally impacted the world. U2 were among the many who have heard his call. They went on to reflect that spirit forever in a song.
No matter what your walk of life, the chance to somehow have a hand in a timeless work — or even an Earth-changing attitude — may be closer than you think. You too may create something that qualifies. All of us should certainly try.
— David Weiss