an "All That" mashup that would be "all that"!

It is telling to trace U2-Pinlk Floyd connections.
The former has been up front about influence by the latter.
But sometimes the connections are subconscious...

One example:

Someone get me a DJ to create a mash up of the
                                    "all that" litany of Pink Floyd's "Eclipse"
and the
                                    "all that" liturgy of U2's           "Walk On"

I think my "All That" mashup would be....well,
as the kids say, "all that!"

"Walk on":

All that you fashion
All that you make
All that you build
All that you break
All that you measure
All that you deal

All you count on two fingers

All that you steal

All that you can leave behind
All that you reason
All that you sense
All that you speak
All you dress up
All that you scheme... 


--
Eclipse:


All that you touch 
All that you see 
All that you taste 
All  you feel. 

All that you love 
All that you hate 
All you distrust 
All you save.

All that you give 
All that you deal 
All that you buy 
Beg, borrow or steal. 

All you create 
All you destroy 
All that you do 
All that you say. 
All that you eat 
And everyone you meet 
All that you slight 
And everyone you fight. 
All that is now 
All that is gone 
All that's to come 
And everything under the sun is in tune 
But the sun is eclipsed by the moon.


---


This new song will preach.  The hopeful nihilism of Floyd and hoping  optimism of U2 collate well (:

We might need to add the "hallelujahs" of many live versions of "Walk On," just to end the mash on a high note:

BTW, when all those "all that" things we are to leave behind were projected onto the audience (as above), it always felt like an upbeat exorcism..




One should also notice a bit of "all that"s in the prequel song on the same Floyd album, "Breathe" ("all that touch and all you see/is all your life will ever be"), perhaps countered by U2's song of the same name.

Excursus: Of course, another intertexting nod is:
"the sun is eclipsed by the moon" (Pink Floyd, Eclipse)
and
" the sun i sometimes eclipsed by the moonI don't see you (You) when she walks in the room"(U2, The Fly)
...."sun" is often used in U2 as "Son" (Jesus), and "moon" or "eclipse" as things (usually women,  see "Elevation," "Staring at the Son" etc)

Well, it appears no one has yet posted my mashup suggestion.

But we do have these:

See also:

U2 rip off Pink Floyd song?

Many moons ago, I posted this about some U2-Floyd connections:

A WALL AND A BOMB: SPIRALING FULL CIRCLE
...and Pink Floyd’s "The Wall", in classic Floydian fashion, was brilliant, but a little hard to listen to; deeply depressing . So what’s it doing in this essay on U2’s new release? I think there is some musical/theological/philosophical gold to be mined by "listening" to these two very different (?) discs from very different (?) eras at the same time (Hey, if that inspires someone reading to pursue some wild ideas for burning some U2-Floyd sampling remixes….don’t do it! Besides, Coldplay and The Rock and Roll Worship Circus have already done it better!) Compare and contrast time. Pink Floyd’s "arc" was from fear to resignation (At least Bono wanted heaven and hell; Roger Waters seems to want hell and hell, with no middle or higher ground in sight)….no arc I want to trace, or road I’m dying to travel. No answers, no baby Jesus among the trash. Of course this is the band for whom the line "We’re just two lost souls swimming in a fishbowl year after year" was a greatest hit and upbeat, Precious and Kodak moment! For all the Wall knew, the best one can settle for is to be "comfortably numb." And the fact that during concert re-enactments of "The Wall," stagehands literally and gradually built up a wall that eventually entirely covered the stage and band from view; and the band seemed comfortably numb and completely unmoved by complaints that fans paid big money to see nothing but a wall, reveals that Bono and band were on a different page in the 90s (At least Bono , after surfing large-screen TV in front of the crowd, knew when enough was enough. He would say, as he threw the remote down, and the band launched into a song, "But you haven’t come all the way out here to watch TV now, have you?") But Floyd ignored fans and built the wall they were singing about. Pink Floyd may have intentionally been nudging fans towards nihilism and suggesting one will have no choice but submit to facism; . U2 were annihilating nihilism with larger than life irony. And facism? Remember "Goodbye all you neo-Nazi skinheads. I hope they give you Auschwitz!"?

Even though the double "Wall" album, and concert, ended with a short piece, "Tear Down the Wall," and that seemed like a good thing; it is not so good. In the record’s scenario, once we tear down the walls that keep us from others and reality, instead of freedom, we find our worst nightmare: there’s nothing behind it! We are hopeless, and now to make matters worse, naked, and in front of an enemy. A careful listener will hear, after the sounds of the wall crumbling, the "real last song" of the Floyd record, which numbly (Of course another U2 Floyd connection and contrast is the Floyd’s "Comfortably Numb" and U2’s "Numb") submits to circumstances , and coldy bends the arc full circle (literally in this case..I’ll explain) from fear to… fear. The last voice one hears at the end of side 4 (remember records? This was a double album; so four sides) is someone quietly saying something that gets cut off mid-sentence "Isn’t this where…"), and the sentence (as one discovered later) was "continued" at the beginning of side 1: "…we came in.") "isn’t "Isn’t this where we came in?" Clever tactic, depressing thesis: The record (literally) comes full circle (literally); life (spiritually) is endless circle; spiraling (in the "Vertigo" video, our band spiraled down to hell, but they bounced back!) through the grooves of the record, and life, into nothingnumbness. Even if we do tear down a wall, we’ll build another and another. .Gosh, Bono did say "Vertigo" was such a nice little ditty that it made you feel like killing yourself. But he laughed. I cannot imagine Roger Waters laughing as he seemingly invites no other ultimate option but suicide..or at least quiet and hopeless desperation…after completing the endless, vicious circle/cycle. That’s at best bad Hindu karma, not good Irish Christianity (which of course Bono contrasted in the last U2 record’s last song, one initially "about a girl" but in its more elevated meaning about a God that Waters apparently knows not of). The Floyd message is antithetical to U2’s, though both group’s presentations and styles may share a lot of great art-genius. But Floyd is still brilliant, and brutally honest. Just hopeless, with no map out of Vertigo and hell; no love to "teach me to kneel." No dead man to even wake up.

"The Wall," ended with a cousin of the "hidden track", didn’t it (The quiet piece that began on side 4 and cycled onto side 1)? "The Bomb"ends with another cousin of the "hidden track," (Which is why "Fast Cars" is wise enough to sneak up on you only after several seconds of silence after the invocation of Yahweh to do his heartbreaking work). And both hidden cousins (did you have cousins like that?) are proven related in that their mission is to verbalize the "real last message" of both discs. In both cases, it is a risk towards atheism. But in U2’s case, it is a risk well taken, as it leads out of that ditch the Floyd’s fast car would land us in.

HOLY HELIX, BATMAN!
Wrapping up this huge but unwieldy "full circle" theory then: I propose that all that I have tried to discover above in the Pink Floyd comparison/contrast ( especially in light of the too-obvious reference on "Vertigo" to "Stories for Boys" from the first record , "Boy ") means that Bono is wanting to communicate something like this: "Yes, this is full circle; but unlike Floyd’s circle/spiral, it’s a positive and God-thing to come full circle. You CAN start over again, not because you are doomed to repeat mistakes and cycle/spiral into numbness and hell , but because you get to be born again, and again, and again, and again… You get to go back where you started; where you ‘came in,’ but on a higher; more informed level.When I sing on the new record that ‘time can’t take the boy out of this man,’ I mean that since our first record was ‘Boy,’ we are now in this new disc, which should’ve been called ‘Man’, returing to childhood, but on a higher, grown-up level...

        -link, complere