Introduction
Rewind to 1984. Picture a rock scene held in the icy grip of teased hair, tapping and tendonitis. Then imagine the impact of U2’s The Unforgettable Fire.
With pivotal tracks Pride (In The Name Of Love) and Bad, this fourth album was the moment Edge ditched the primal punk to unveil that sound: a delay-drenched cascade that sounded like God tipping diamonds over a waterfall. Live, you’d even tolerate Bono’s messianic bluster, just to hear the ear-gasm of Where The Streets Have No Name.
"Bono noted that 'Edge is the guitarist of his generation.' It kills us to agree with him - but he might well have a point"
Three decades later, Edge’s signature use of delay has its detractors - witness Bill Bailey’s ‘Catastrophic technical failure at a U2 gig’ routine, which suggests the guitarist would be sunk without it. It’s funny, but it’s not true.
Beyond the Electro-Harmonix Memory Man favoured by Edge to create that futuristic slapback, the U2 man achieved a gloriously human tone with his preferred rig of a 60s Vox AC30 and a ’76 Gibson Explorer.
And to anyone who says he can’t play - hear the stunning emotive solo of The Fly, the neck-tingling outro of All I Want Is You or the spring-heeled riff that drives Out Of Control.
Back in 2003, Bono noted that “Edge is the guitarist of his generation.” It kills us to agree with him - but he might well have a point. Here are two rigs - one budget, one blowout - that will get you in The Edge's arena...
