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THE_FLY

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god part III
En pop larry y la sección rítmica esta presente en cada pista. Larry dijo que se sintió inseguro al principio y también dijo que pop y zooropa eran lo mejor y luego se desdijo. Los rockeros no cuentan la verdad.
Pero negar que en pop no hay batería y que es el estilo de larry, tela

Nunca he dicho que no haya bateria, lo que dije es la participacion de Larry fue menor por el mismo problema cirugia y recuperacion de la espalda en POP y por ello nadie lo considera un disco menos de Larry. Como sea, su ausencia resulto positiva por varios motivos. Howie B y Flood lo explican mejor:

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Howie B y Flood
Although it was tough on poor Larry Mullen, his back problems did prove to be a musical blessing in disguise, as they forced U2 out of their usual methods of working. This in turn opened the doors to new influences, which is where Howie B came in. Awarded the loose and potentially confusing role of 'DJ and vibes' (see the 'B Here Now' box elsewhere in this article), Howie ended up with Pop sleeve credits for 'inspirational decks' -- ie. turntables -- and 'loops' on several tracks. Flood explained what it all meant: "Howie would be playing all kinds of records to inspire the band and for them to improvise to. That could be anything from a jazz trumpet solo to a super groove funk thing, with no holds barred. We also programmed drum loops, or took things from sample CDs; anything to get the ball rolling. U2 arrive in the studio with very little finished material; on Pop, the only songs that were more or less there before we started were 'Wake Up Dead Man', which was left over from the Zooropa sessions, and 'If You Wear That Velvet Dress', which came out of the pre-production sessions with Nellee. I think 'Mofo' was also partly written beforehand, and so was 'Staring At The Sun'. But all these songs changed radically as we kept working on them."

Work with the record decks and drum loops happened mostly during September-December 1995 at Hanover, a warehouse in Dublin that U2 have transformed into a rehearsal space/recording studio, featuring an old Neve desk much loved by Howie B, and Otari MTR90 and MTR100 24-track tape machines. For sequencing, Howie B and Flood used an Atari with ageing Creator software, while the sampling was handled by an Akai S1000, S1100, and S3200, and (in Flood's case) a Kurzweil K2000. Steve Osborne worked with Cubase on the Mac, while programmer and keyboardist Marius de Vries favoured Logic Audio. According to Flood, some 30-40 pieces of music emerged during this period, ranging from songs to jams to the merest germs of ideas. When work on the album re-started in February 1996, the challenge was to take these musical bits and pieces to the next stage.