Rattle and Hum

{{Quote box

| quote = "I was very keen on the idea of going wide at a time like that, just seeing how big this thing could get. I had always admired Colonel Parker and Brian Epstein for realising that music could capture the imagination of the whole world."

| source = —U2 manager Paul McGuinness, explaining his original motivation to make a movie.McGee (2008), p. 105

| width = 25em

| align = left

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While in Hartford during the Joshua Tree Tour in 1987, U2 met film director Phil Joanou who made an unsolicited pitch to the band to make a feature-length documentary about the tour. Joanou suggested they hire Martin Scorsese, Jonathan Demme, or George Miller to direct the film. Joanou met the band again in Dublin to discuss the plans and again in France in September before the band chose him as director. The movie was originally titled U2 in the Americas and the band planned to film in Chicago and Buenos Aires later in the year.McGee (2008), pp. 105, 109 It was later decided that the Chicago venue was not suitable, and instead U2 used the McNichols Sports Arena in Denver to film. Following the success of Live at Red Rocks: Under a Blood Red Sky, which had been filmed in Denver four years earlier, the band hoped that "lightning might strike twice". With production problems and estimated costs of $1.2 million the band cancelled the plans for December concerts in South America. At the suggestions of concert promoter Barry Fey, the band instead booked Sun Devil Stadium at Arizona State University in Tempe, Arizona, the same city where the Joshua Tree Tour began.McGee (2008), p. 112

The movie is a rockumentary, which was initially financed by the band and intended to be screened in a small number of cinemas as an independent film. After going over budget, the film was bought by Paramount Pictures and released in theatres in 1988, before arriving on video in 1989. It was produced by Michael Hamlyn and directed by Joanou. Paul Wasserman served as the publicist.{{cite web|url=https://www.imdb.com/title/tt0096328/fullcredits#cast|title=U2: Rattle and Hum (1988) – Full cast and crew|publisher=Internet Movie Database|access-date=10 August 2011}} It incorporates live footage with studio outtakes and band interviews. The album is a mix of live material and new studio recordings that furthers the band's experimentation with American music styles and recognises many of their musical influences. It was produced by Jimmy Iovine and also released in 1988.

The title, Rattle and Hum, is taken from a lyric from "Bullet the Blue Sky", the fourth track on The Joshua Tree. The image used for the album cover and movie poster, depicting Bono shining a spotlight on Edge as he plays, was inspired by a scene in the live performance of "Bullet the Blue Sky" recorded in the film and album, but was recreated in a stills studio and photographed by Anton Corbijn.Scrimgeour (2004), p. 273 Several vinyl copies have the message "We Love You A.L.K." etched into side one, a reference to the band's production manager Anne Louise Kelly, who would be the subject of another secret dedication message on several CD copies of the band's later album, Pop.

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Bono said "Hawkmoon 269" was in part as a tribute to writer Sam Shepard, who had released a book entitled Hawk Moon. Bono also said that the band mixed the song 269 times. This was thought to be a joke for years until it was confirmed by guitarist the Edge in U2 by U2, who said that they spent three weeks mixing the song. He also contradicted Bono's assertion about Shepard, saying that Hawkmoon is a place in Rapid City, South Dakota, in the midwestern United States.McCormick (2006), p. 203

"Angel of Harlem" is a horn-filled tribute to Billie Holiday. The bass-heavy "God Part II" is a sequel of sorts to John Lennon's "God".

The lead single, "Desire", sports a Bo Diddley beat. During the Joshua Tree tour, in mid-November 1987, Bono and Bob Dylan met in Los Angeles; together they wrote a song called "Prisoner of Love" which later became "Love Rescue Me". Dylan sang lead vocals on the original recording, a version which Bono called "astonishing", but Dylan later asked U2 not to use it citing commitments to The Traveling Wilburys.McGee (2008), p. 114 The live performance of "I Still Haven't Found What I'm Looking For" (recorded with a full church choir) is a gospel song. "When Love Comes to Town" is a blues rocker featuring B. B. King on guitar and vocals.

U2 recorded "Angel of Harlem", "Love Rescue Me" and "When Love Comes to Town" at Sun Studio in Memphis, Tennessee, where Elvis Presley, Roy Orbison, Johnny Cash and many others also recorded. They also recorded an unreleased version of "She's a Mystery to Me" and Woody Guthrie's "Jesus Christ", which appeared on Folkways: A Vision Shared. The band started writing "Heartland" in 1984 during The Unforgettable Fire sessions, and it was worked on during The Joshua Tree sessions.McGee (2008), p. 93 All of the studio tracks apart from "Heartland" were performed in concert on the Lovetown Tour, which began almost a year after Rattle and Hum{{'}}s release.

In addition to the nine studio tracks that comprised one half of the double album, a number of additional recordings from the Rattle and Hum sessions would be released on various singles and side projects. "Hallelujah Here She Comes" was released as a B-side to "Desire", and "A Room at the Heartbreak Hotel" was released as a B-side to "Angel of Harlem". Covers were released as B-sides for the rest of the singles—an abbreviated cover of Patti Smith's "Dancing Barefoot" would be released as a B-side to "When Love Comes to Town" (the full version would see release on the 12" version of the single and on CD on the 1994 soundtrack album to Threesome), while "Unchained Melody" and "Everlasting Love" would be released as the B-sides to "All I Want Is You". A cover of "Fortunate Son" recorded with Maria McKee would not be released until 1992's "Who's Gonna Ride Your Wild Horses" single; a version of the soul classic "Everybody Loves a Winner" by William Bell, also recorded with McKee, would eventually be released on the 20th anniversary edition of Achtung Baby.

Studio versions of "She's a Mystery to Me" (a Bono/Edge composition that would eventually be recorded and released by Roy Orbison), Bruce Cockburn's "If I Had a Rocket Launcher", Percy Sledge's "Warm and Tender Love", and "Can't Help Falling in Love With You", while recorded, have yet to be released. (A solo Bono cover of the Elvis Presley classic would be released on 1992's Honeymoon in Vegas album, however.) A cover of the Woody Guthrie song "Jesus Christ" was also recorded during these sessions for eventual inclusion on the cover album Folkways: A Vision Shared. Lastly, a cover of "Christmas (Baby Please Come Home)" was recorded and released for the first A Very Special Christmas album, released at the end of 1987.

File:McNichols Sports Arena 1994.jpg in November 1987.]]

The band chose to film the black-and-white footage over two nights at Denver's McNichols Sports Arena on 7 and 8 November 1987. They chose the city following the success of their U2 Live at Red Rocks: Under a Blood Red Sky video which was filmed in Red Rocks Amphitheatre near Denver in 1983. The Edge said, "We thought lightning might strike twice". The first night's performance disappointed the group, with Bono finding that the cameras infringed on his ability to play to the crowd. The second Denver show was far more successful and seven songs from the show are used in the film, and three on the album.

Hours before the second Denver performance, an IRA bomb killed eleven people at a Remembrance Day ceremony in the Northern Irish town of Enniskillen (see Remembrance Day Bombing). During a performance of "Sunday Bloody Sunday", which appears on the film, Bono condemned the violence in a furious mid-song rant in which he yelled, "Fuck the revolution!" The performance was so powerful that the band said they were not sure the song should have been used in the film. After watching the film, they considered not playing the song on future tours.McGee (2008), p. 113

Colour outdoor concert footage is from the band's Tempe, Arizona shows on 19 and 20 December 1987. Tickets were sold for US$5 each and both nights sold out within days. The set was different each night with the band throwing in some rarely performed songs, including "Out of Control", "Christmas (Baby Please Come Home)", "One Tree Hill", and "Mothers of the Disappeared". For the latter, all four members played at the front of the stage, each under a large spotlight.

The album opens with a live cover of the Beatles' "Helter Skelter". Its inclusion on the album was intended by the band to reflect the confusion of The Joshua Tree Tour and their new-found superstar status. Bono opens "Helter Skelter" with this statement: "This is a song Charles Manson stole from the Beatles. We're stealing it back".Graham (2004), p. 36

The album contains a live version of Bob Dylan's "All Along the Watchtower". The performance is from the band's impromptu "Save the Yuppies" concert in Justin Herman Plaza in San Francisco, California on 11 November 1987. The video intersperses the performance of the song with footage from the band's performance of "Pride" from the same show, during which Bono spray-painted "Rock and Roll Stops the Traffic" on the Vaillancourt Fountain. This caused a bit of controversy, and ultimately, the band paid to repair the damage and publicly apologised for the incident. The phrase "Rock and Roll Stops the Traffic" reappeared 18 years later in the video "All Because of You" when an unnamed fan appeared with the sign at 1:55 in the video.{{cite web|url=https://www.youtube.com/watch?v=rlBdaxB1Wy4 |archive-url=https://ghostarchive.org/varchive/youtube/20211212/rlBdaxB1Wy4| archive-date=2021-12-12 |url-status=live|title=U2 All Because of You|date=30 May 2006 |publisher=YouTube|access-date=10 August 2011}}{{cbignore}} It also reappeared in February 2009, when the band played on the rooftop of the BBC Radio studios in Langham Place.{{cite news|url=https://www.theguardian.com/music/2009/feb/28/u2-bono-gig-pop-music?intcmp=239|title=U2 attract 5,000 with rooftop homage to the Fab Four|newspaper=The Guardian | first=Sam|last=Jones|date=28 February 2009}}

Dennis Bell, director of New York gospel choir The New Voices of Freedom, recorded a demo of a gospel version of "I Still Haven't Found What I'm Looking For".McGee (2008), p. 104 While in Glasgow in late July during the Joshua Tree Tour, Rob Partridge of Island Records played the demo for the band.McGee (2008), p. 109 In late September, U2 rehearsed with Bell's choir in a Harlem church, and a few days later they performed the song together at U2's Madison Square Garden concert. Footage of the rehearsal is featured in the movie, while the Madison Square Garden performance appears on the album.McGee (2008), pp. 110–111 After the church rehearsal, U2 walked around the Harlem neighbourhood where they came across blues duo, Satan and Adam, playing in the street. A 40-second clip of them playing their composition, "Freedom for My People", appears on both the movie and the album.McGee (2008), p. 111

During "Silver and Gold", Bono explains that the song is an attack on apartheid. "The Star Spangled Banner" is an excerpt of Jimi Hendrix's famous Woodstock performance in 1969. The noise of the crowd was sampled extensively by The KLF for 'the Stadium House Trilogy' of singles on their 1991 album The White Room.{{cite web|url=http://cardhouse.com/x07/klf.html|title=KLF Interview|publisher=cardhouse.com|access-date=10 August 2011}}

Alternative live concert footage captured for the film in other cities during the 1987 tour (but ultimately not used for the final cut of the film) included:

• Foxboro, Massachusetts, Foxboro Stadium, 22 September 1987
• Philadelphia, Pennsylvania, JFK Stadium, 25 September 1987
• New York, NY, Madison Square Garden, 28 September 1987
• Long Island, New York, Rehearsals on a beach, 19 October 1987
• Boston, Massachusetts, Boston Garden, 18 September 1987 (color footage)

{{Music ratings

| title = Professional album ratings (1988)

| rev1 = The Arizona Republic

| rev1score = {{rating|3|5}}

| rev2 = Austin American-Statesman

| rev2score = {{rating|5|5}}{{cite news|title=U2 twice as good on double album|newspaper=Austin American-Statesman|first=Michael|last=MacCambridge|date=20 October 1988|page=C3}}

| rev3= Chicago Sun-Times

| rev3score = {{Rating|3|4}}{{cite news|last=McLeese|first=Don|date=17 October 1988|url=https://www.highbeam.com/doc/1P2-3909656.html|archive-url=https://web.archive.org/web/20180214202808/https://www.highbeam.com/doc/1P2-3909656.html|url-status=dead|archive-date=14 February 2018|title=Story of U2 album incomplete without film|newspaper=Chicago Sun-Times|access-date=14 February 2018|url-access=subscription }}

| rev4 = The Cincinnati Enquirer

| rev4score = {{rating|4.5|5}}

| rev5 = Knight-Ridder News

| rev5score = {{rating|2|4}}

| rev6 = Los Angeles Times

| rev6score = {{Rating|4|4}}

| rev7 = New York Daily News

| rev7score = {{rating|2.5|4}}

| rev8 = NME

| rev8score = 8/10

| rev9 = Rolling Stone

| rev9score = {{Rating|3.5|5}}

| rev10 = The Village Voice

| rev10score = B+

}}

The album divided critics when it was released in 1988.{{cite news|last=Hilburn|first=Robert|date=20 November 1988|url=https://www.latimes.com/archives/la-xpm-1988-11-20-ca-441-story.html|title=The First Temptation of U2|newspaper=Los Angeles Times|at=sec. Calendar, pp. 80, 86|access-date=27 August 2015}} Some reviewers panned it, feeling that U2 were making a deliberate and pretentious attempt at rock and roll renown. Jon Pareles of The New York Times called it a "mess" that exuded "sincere egomania", and said the "band's self-importance got in the way" of their ambition for the album. He said it was plagued by the group's "attempts to grab every mantle in the Rock-and-Roll Hall of Fame" and that each one was "embarrassing in a different way".{{cite news|url=https://www.nytimes.com/1988/10/16/arts/recordings-when-self-importance-interferes-with-the-music.html|title=When Self-Importance Interferes With the Music|newspaper=The New York Times|first=Jon|last=Pareles|author-link=Jon Pareles|date=16 October 1988|page=H31|access-date=22 March 2021}} David Stubbs of Melody Maker said that Rattle and Hum "lacks cohesion" and "is musically, stylistically confused". He criticised Bono's "reverential nods to the great white heroes of rock" and the band's "homages to the bluesmen and gospel greats".{{cite magazine|url=https://www.rocksbackpages.com/Library/Article/u2-irattle-and-humi-island|title=The Lord's Prayer|magazine=Melody Maker|first=David|last=Stubbs|author-link=David Stubbs|date=15 October 1988|volume=64|issue=42|page=37|access-date=23 March 2021}} Thom Duffy of the Orlando Sentinel said that Rattle and Hum is "greatly in need of a focal point" and "often sounds like an over-reaching attempt to claim chunks of pop history as [U2's] own story". He believed the group had "merely celebrated its own ascension into the pop history books... and little more".{{cite news|url=https://www.orlandosentinel.com/news/os-xpm-1988-11-04-0080120227-story.html|title=U2's sprawling 'Rattle and Hum' buzzes with self-congratulation|newspaper=Orlando Sentinel|first=Thom|last=Duffy|date=4 November 1988|page=E-8|access-date=23 March 2021}} Tom Carson from The Village Voice called it an "awful record" by "almost any rock-and-roll fan's standards", and said the group's failure did not "sound attributable to pretensions so much as to monumental know-nothingism".{{cite news|title=Elvis is Alive!?|newspaper=The Village Voice|first=Tom|last=Carson|date=15 November 1988|volume=33|issue=46|page=75}} Fellow Village Voice critic Robert Christgau was more complimentary, calling the record "looser and faster than anything they've recorded since their first live mini-LP".{{cite news|last=Christgau|first=Robert|author-link=Robert Christgau|date=22 November 1988|url=http://www.robertchristgau.com/xg/cg/cgv1188-88.php|title=Christgau's Consumer Guide|newspaper=The Village Voice|location=New York|access-date=27 August 2015}} David Browne of the New York Daily News said the album's "scope and disjointedness" recalled double albums such as Exile on Main St. or The Beatles, but that until it aged as well as those records, "'Rattle and Hum' just prattles and numbs".{{cite news|title=U2 Prattles On|newspaper=New York Daily News|first=David|last=Browne|author-link=David Browne (journalist)|date=9 October 1988|at=sec. City Lights, p. 27}} Andrew Means of The Arizona Republic thought the album was "no substitute" for the "exhilaration and conviction" of the Joshua Tree Tour. He believed that Bono's passion on record was not "quite as mesmerizing as it is on stage" and that the group's new material did not "add significantly" to their message or image.{{cite news|title=Overshadowed by 'The Joshua Tree'|newspaper=The Arizona Republic|first=Andrew|last=Means|date=25 October 1988|pages=B6–B7}} Lynden Barber of The Sydney Morning Herald called it "an ambitious project, and the result is almost inevitably a mixed bag". He lamented the songs that presented the band's Christianity "as a fait accompli", as well as their proclivity for "jams around a couple of chords substituting themselves for considered song-writing".{{cite news|title=Lost amid the certainties|newspaper=The Sydney Morning Herald|first=Lynden|last=Barber|date=25 October 1988|page=22}} A reviewer for Knight-Ridder News said, "this double-album boondoggle manages to make the band sound like quintessential overreachers".{{cite news|title=In the Record Store|newspaper=Times-Advocate|agency=Knight-Ridder News|date=3 November 1988|at=sec. North County magazine, p. 27}}

Writing in Rolling Stone, Anthony DeCurtis said that the record succeeded at capping U2's rise to stardom "on a raucous, celebratory note", finding it to be "most enjoyable when the band relaxes and allows itself to stretch without self-consciously reaching for the stars". DeCurtis ultimately deemed it a "tad calculated in its supposed spontaneity" and said it demonstrated "U2's force but devot[ed] too little attention to the band's vision".{{cite magazine|url=https://www.rollingstone.com/music/albumreviews/rattle-and-hum-19881117|title=U2's American Curtain Call|magazine=Rolling Stone|last=DeCurtis|first=Anthony|author-link=Anthony DeCurtis|date=17 November 1988|access-date=10 August 2011|issue=539|page=149}} In a rave review for the Los Angeles Times, Robert Hilburn called Rattle and Hum a "frequently remarkable album" that more than matched The Joshua Tree, and he credited U2 for reviving the "idealism and craft of [rock's] finest moments".{{cite news|last=Hilburn|first=Robert|author-link=Robert Hilburn|date=9 October 1988|url=https://www.latimes.com/archives/la-xpm-1988-10-09-ca-5251-story.html|title=U2 Embraces the Roots of Rock|newspaper=Los Angeles Times|at=sec. Calendar, pp. 66, 68|access-date=30 August 2015}} J. D. Considine of The Baltimore Sun said that the album's songs "draw upon every musical strength U2 has developed over the years" and that the "sheer muscular physicality of its sound" set Rattle and Hum apart from its predecessors. He said that despite the record being "occasionally pretentious", the group "never seems out of its depth" amongst the guest artists.{{cite news|title='Rattle and Hum': The Gospel According to U2|newspaper=The Baltimore Sun|first=J. D.|last=Considine|author-link=J. D. Considine|date=16 October 1988|pages=1M, 8M}} Jay Cocks of Time said, "U2 has never sounded better or bolder", calling Rattle and Hum: "the best live rock album ever made. The record, in every sense, of their lives".{{cite magazine|url=https://content.time.com/time/subscriber/article/0,33009,968983,00.html|title=Music: U2 Explores America|magazine=Time|first=Jay|last=Cocks|author-link=Jay Cocks|date=21 November 1988|volume=132|issue=21|pages=146+|access-date=23 March 2021}} Hot Press reviewer Bill Graham said it was U2's "most ambitious record" yet,{{cite magazine|url=https://www.hotpress.com/music/rattle-and-hum-551874|title=Shake, Rattle and Hum|magazine=Hot Press|first=Bill|last=Graham|author-link=Bill Graham (author)|volume=12|issue=20|date=20 October 1988|access-date=23 March 2021}} while John Mackie of The Vancouver Sun said it "should consolidate the band's stature as the Beatles of the late '80s".{{cite news|title=U2's new album confirms them as Beatles of the '80s|newspaper=The Vancouver Sun|first=John|last=Mackie|date=8 October 1988|page=E12}} Cliff Radel of The Cincinnati Enquirer said that Rattle and Hum "proves the achievements of the band's previous album... were no accident", and that it demonstrated the group's ability to create "highly charged songs in the studio and on stage".{{cite news|title=U2 settling score for Lennon|newspaper=The Cincinnati Enquirer|first=Cliff|last=Radel|date=8 October 1988|page=D1}} In the UK, Robin Denselow of The Guardian said that "the whole sounds far greater than the sum of the decidedly variable parts". The review found the cover songs to be the weakest material but judged Rattle and Hum overall to be a "solid, versatile piece of work" that "leaves much of the best until last".{{cite news|title=A claim to the Hall of Fame|newspaper=The Guardian|first=Robin|last=Denselow|date=7 October 1988|page=33}} Stuart Baillie of NME gave it a positive 8/10 review.{{cite book|last=Jobling|first=John|year=2014|pages=195–197|title=U2: The Definitive Biography|publisher=Macmillan Publishers|isbn=978-1-250-02790-0|url=https://books.google.com/books?id=xKFzAwAAQBAJ&pg=PA196|access-date=30 August 2015}} Contentiously, his review replaced a much more negative 4/10 review by Mark Sinker, in which he described it as "the worst album by a major band in years". It was pulled by NME editor Alan Lewis, as it was feared that criticism of U2 would affect the magazine's circulation;{{cite magazine|title=How the West Was Won|magazine=Uncut |first=Stephen|last=Dalton|date=October 2003|issue=77}} Sinker resigned in protest.

At the end of 1988, Rattle and Hum was voted the 21st-best album of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice.{{cite news|url=http://www.robertchristgau.com/xg/pnj/pjres88.php|title=1988 Pazz & Jop: Dancing on a Logjam: Singles rool in a world up for grabs: The 15th (or 16th) annual Pazz & Jop Critics Poll|newspaper=The Village Voice|date=28 February 1989|first=Robert|last=Christgau|author-link=Robert Christgau|access-date=23 March 2021}} In other critics' lists of the year's top albums, it was ranked number one by HUMO, second by the Los Angeles Times and Hot Press, 17th by OOR, 23rd by NME, and 47th by Sounds.{{Citation needed|date=December 2023}}

{{Quote box|width=25em|quote="But I wasn't prepared for the difference in the size of the movie campaign and the average record campaign ... how all across America for a couple of weeks, you couldn't turn on your TV without getting U2 in your face. That's not the way records are marketed. It's much more subtle and I think a lot of the band's old fans found it distasteful. The aftermath I think, quite honestly, was that no one wanted to hear about U2 for a while."|source= —Paul McGuinness{{cite news|url=https://www.latimes.com/archives/la-xpm-1992-03-01-ca-5308-story.html|title=U2's U-Turn|newspaper=Los Angeles Times|first=Robert|last=Hilburn|author-link=Robert Hilburn|date=1 March 1992|access-date=2 February 2017|at=sec. Calendar, pp. 6–7, 76–77}}}}

According to a USA Today survey of reviews at the time of the film's release, Rattle and Hum had an average review score of 64/100.{{cite news|title=The Movie Poll|newspaper=USA Today|date=11 November 1988|page=4D}} According to review aggregation website Rotten Tomatoes, the film has a rating of 62%.{{cite web|url=http://www.rottentomatoes.com/m/u2_rattle_and_hum/|title=U2: Rattle and Hum (1988)|work=Rotten Tomatoes|access-date=28 August 2015}} Roger Ebert panned the film as a "mess", saying the concert footage was poorly lit and did not show the audience enough, and that the band being "deliberately inarticulate" in interview segments was "not cute". His review partner Gene Siskel was more complimentary, praising the group's performance with the Harlem gospel choir as "powerful and emotional" and calling Bono's statements during "Sunday Bloody Sunday" the film's highlight.{{cite episode|url=https://siskelebert.org/?p=5757|title=Show 308|series=Siskel & Ebert|series-link=At the Movies (1986 TV program)|number=308|author1=Siskel, Gene (host)|author2=Ebert, Roger (host)|date=5 November 1988|publisher=Buena Vista Television|access-date=24 March 2021|via=siskelebert.org}} Hal Hinson of The Washington Post called the film "an exercise in rock 'n' roll hagiography" and "a fanzine on celluloid", and said that despite its "stunning look", the film came across as "stagy and overproduced". He said that the band's "attempts to place themselves in the rock continuum are fairly strenuous and more than a little presumptuous".{{cite news|url=https://www.washingtonpost.com/archive/lifestyle/1988/11/04/u2-for-serious-fans-only/95432a56-772b-4b37-9807-661466cb745b/|title='U2': For Serious Fans Only|newspaper=The Washington Post|first=Hal|last=Hinson|author-link=Hal Hinson|date=4 November 1988|page=B7|access-date=24 March 2021}} Joyce Millman of the San Francisco Examiner described it as a "tediously pious and self-important" film that "successfully captured everything the faithful love, and we pagans loathe, about the biggest band of the '80s". She said the film "does nothing to pierce the band's vagueness" and that they were upstaged by King and the Harlem gospel choir. Millman judged that the cinematography's "gargantuan pomposity... perhaps unintentionally" personified "the essence of U2".{{cite news|title=Oh, God|newspaper=San Francisco Examiner|first=Joyce|last=Millman|author-link=Joyce Millman|date=4 November 1988|pages=C-1, C-9}} Gary Graff of the Detroit Free Press called the film "a conceptual mess that lacks focus and flow", and said that it neither chronicles the band's breakout success of 1987 adequately nor offers additional insight into the band. He said that "many of the individual components of [the film] are excellent" but that Joanou failed to tie them together.{{cite news|title='U2: Rattle and Hum'|newspaper=Detroit Free Press|first=Gary|last=Graff|author-link=Gary Graff|date=4 November 1988|pages=1C, 4C}} Carrie Rickey of The Philadelphia Inquirer said, "Self-indulgent to the point of absurdity, U2 Rattle and Hum might be the silliest concert film ever made." She said it compared unfavourably to other concert movies due to its lack of narrative, and that Joanou's reverence for U2 bordered on "unintentional hilarity", adding, "Rob Reiner and company couldn't do a Spinal Tap on this; Rattle and Hum is already a parody."{{cite news|title=Paying homage to the Irish band U2 on its recent tour|newspaper=The Philadelphia Inquirer|first=Carrie|last=Rickey|author-link=Carrie Rickey|date=4 November 1988|at=sec. Weekend, p. 16}} Joanou himself called the picture "pretentious".Gardner (1994)

Michael MacCambridge of the Austin American-Statesman disagreed with the film's detractors, calling it a "very good and at times excellent concert movie" whose "studied avoidance of drifting into self-parody" distinguished it from predecessors and headed off comparisons to This Is Spinal Tap. MacCambridge enjoyed the black-and-white footage of the band "in the middle of becoming legend" and their scenes with King and the Harlem gospel choir, but thought the switch to colour footage interrupted the film's "pace and momentum".{{cite news|title=Becoming a legend|newspaper=Austin American-Statesman|first=Michael|last=MacCambridge|date=4 November 1988|page=F5}} David Silverman of the Chicago Tribune said that Joanou "steadily brings the viewer into a relationship with the band and brings an understanding to the new music", while "provid[ing] an innovative, fast-paced insight" to U2. Silverman praised the documentary scenes with the individual band members and the "beautiful artistic" performance footage, and said the director "succeeded in bringing U2 to the screen in a creative, introspective and exciting film that will add to the legend and preserve the integrity of the decade's most influential contribution to rock".{{cite news|url=https://www.chicagotribune.com/news/ct-xpm-1988-11-04-8802130045-story.html|title='Rattle and Hum' Introduces Personal Side of U2|newspaper=Chicago Tribune|first=David|last=Silverman|date=4 November 1988|at=sec. 7, p. A|access-date=22 March 2021}} Barbara Jaeger of The Record called it a "moving, beautifully photographed look at the group" that properly captured the energy of their live performances. She said, "If there is to be a standard against which future rock movies will be judged, 'U2 Rattle and Hum' is it."{{cite news|title=U2's power and intensity is captured on celluloid|newspaper=The Record|first=Barbara|last=Jaeger|date=4 November 1988|at=sec. Previews, p. 29}} Mackie of The Vancouver Sun said that despite the film offering "few insights into the individual members, the live footage is nothing short of brilliant." He described Bono's speech during "Sunday Bloody Sunday" as a "raw, emotional moment, a spontaneous outburst that crystalizes the powerful message of peace and love that U2 preach".{{cite news|title=U2 film catches live magic|newspaper=The Vancouver Sun|first=John|last=Mackie|date=4 November 1988|page=C1}} Michael Wilmington of the Los Angeles Times said the film "records some savagely compelling live performances" and offers proof of why "this unlikely band... are often ranked by critics as the world's best". He thought that despite Joanou not setting the proper context for the film or conducting an engaging interview with U2, "he matches the impassioned sounds with spectacular visuals".{{cite news|url=https://www.latimes.com/archives/la-xpm-1988-11-04-ca-1284-story.html|title=Movie Reviews: 'Rattle and Hum' Catches U2's Music and Message|newspaper=Los Angeles Times|first=Michael|last=Wilmington|date=4 November 1988|at=sec. Calendar, p. 6}}

Despite the criticism, the Rattle and Hum album was a strong seller, continuing U2's burgeoning commercial success. It hit number one on the US Billboard 200 albums chart, remaining at the top spot for six weeks; it was the first number-one double album in the US since Bruce Springsteen's The River in 1980.McGee (2008), p. 120 Rattle and Hum also reached number one in the UK and Australian charts. In the UK, it sold 360,000 copies in its first week, making it the fastest-selling album at that point (a record it held until the release of Oasis's Be Here Now in 1997).{{Cite web|url=http://www.virginmedia.com/music/features/fastest-selling-albums.php?page=11|title=10. U2: Rattle And Hum|year=2010|publisher=Virgin Media|access-date=31 January 2012|archive-url=https://web.archive.org/web/20160304092630/http://www.virginmedia.com/music/features/fastest-selling-albums.php?page=11|archive-date=4 March 2016}}{{cite web|url=https://www.musicweek.com/analysis/read/charts-analysis-sam-smith-surges-to-albums-summit/070778|title=Charts Analysis: Sam Smith surges to albums summit|work=Music Week|first=Alan|last=Jones|date=8 December 2017|access-date=9 December 2017|url-access=subscription }} Lifetime sales for the album have surpassed 14 million copies.Stokes (2005), p. 78

{{Music ratings

| rev1 = AllMusic

| rev1score = {{Rating|3|5}}{{cite web|last=Erlewine|first=Stephen Thomas|author-link=Stephen Thomas Erlewine|url=https://www.allmusic.com/album/rattle-and-hum-mw0000375268|title=Rattle and Hum – U2|website=AllMusic|access-date=10 August 2011}}

| rev2 = Chicago Tribune

| rev2score = {{Rating|3|4}}{{cite news|url=https://www.chicagotribune.com/1992/09/06/you-too-can-hear-the-best-of-u2/|title=You, Too, Can Hear The Best Of U2|newspaper=Chicago Tribune|date=6 September 1992|access-date=3 December 2015|last=Kot|first=Greg|author-link=Greg Kot}}

| rev3 = Encyclopedia of Popular Music

| rev3score = {{Rating|3|5}}{{Cite encyclopedia |title=U2 |encyclopedia=The Encyclopedia of Popular Music |year=2007 |publisher=Omnibus Press |location=London |editor-last=Larkin |editor-first=Colin |edition=5th concise |page=1426 |isbn=9781846098567}}

| rev4 = Entertainment Weekly

| rev4score = B{{cite magazine|url=http://www.ew.com/article/1991/11/29/u2s-discography|title=U2's Discography|magazine=Entertainment Weekly|date=29 November 1991|access-date=24 September 2015|last=Wyman|first=Bill}}

| rev5 = The Rolling Stone Album Guide

| rev5score = {{Rating|4|5}}{{cite book|chapter=U2|last1=Considine|first1=J. D.|author-link1=J. D. Considine|last2=Brackett|first2=Nathan|editor1-first=Nathan|editor1-last=Brackett|editor2-first=Christian|editor2-last=Hoard|title=The New Rolling Stone Album Guide|publisher=Simon & Schuster|edition=4th|year=2004|isbn=0-7432-0169-8|pages=[https://archive.org/details/newrollingstonea00brac/page/833 833–34]|title-link=The Rolling Stone Album Guide}}

}}

{{Blockquote|"Rattle and Hum was conceived as a scrapbook, a memento of that time spent in America on the Joshua Tree tour. It changed when the movie, which was initially conceived of as a low-budget film, suddenly became a big Hollywood affair. That put a different emphasis on the album, which suffered from the huge promotion and publicity, and people reacted against it."{{cite magazine|title=U2's Edge and Adam Clayton Look Back on Two Decades of Hit Albums with Few – If Any – Regrets|magazine=Revolver|first=Anthony|last=DeCurtis|author-link=Anthony DeCurtis|date=December 2000}}|The Edge}}

In 1989, while at a press tour in Sydney, Australia (where U2 were touring with B. B. King and working on demos for the follow-up album Achtung Baby), Bono stated, "making movies: that's the nonsense of rock & roll", which Rolling Stone magazine claimed was almost an apology for the film. "Playing shows is the reason we're here", he added.{{cite magazine|title=October 1989|magazine=Rolling Stone|date=14–28 December 1989|issue=567/568|page=127}} Despite their commercial popularity, the group were dissatisfied creatively; Bono believed they were musically unprepared for their success, while Mullen said, "We were the biggest, but we weren't the best."{{cite magazine |url=https://www.rollingstone.com/news/coverstory/u2s_serious_fun |title=U2 Finds What It's Looking For |magazine=Rolling Stone |first=David |last=Fricke |author-link=David Fricke |date=1 October 1992 |access-date=26 April 2010 |issue=640 |pages=40+ |url-status=dead |archive-url=https://web.archive.org/web/20090420045907/http://www.rollingstone.com/news/coverstory/u2s_serious_fun |archive-date=20 April 2009 }} By the Lovetown Tour, they had become bored with playing their greatest hits.Flanagan (1996), p. 4 U2 believe that audiences misunderstood the group's collaboration with King on Rattle and Hum and the Lovetown Tour, and they described it as "an excursion down a dead-end street".Flanagan (1996), pp. 25, 27–28McCormick (2006), p. 213 Towards the end of the Lovetown Tour, Bono announced on-stage that it was "the end of something for U2", and that "we have to go away and ... dream it all up again". The band subsequently reinvented themselves in the 1990s; beginning with Achtung Baby in 1991, they incorporated alternative rock, electronic dance music, and industrial music into their sound, and adopted a more ironic, flippant image by which they embraced the "rock star" identity they struggled with in the 1980s.{{cite magazine|title=Achtung Stations|magazine=Uncut|first=Stephen|last=Dalton|date=November 2004|issue=90|page=52}}

{{Track listing

| total_length = 72:27

| all_lyrics = Bono

| all_music = U2, except where noted

| extra_column = Performer

| title1 = Helter Skelter

| note1 = live at Denver, Colorado

| writer1 = Lennon–McCartney (lyrics and music)

| extra1 = U2

| length1 = 3:07

| title2 = Van Diemen's Land

| writer2 = The Edge (lyrics)

| extra2 = U2

| length2 = 3:06

| title3 = Desire

| extra3 = U2

| length3 = 2:58

| title4 = Hawkmoon 269

| extra4 = U2

| length4 = 6:22

| title5 = All Along the Watchtower

| note5 = live from "Save the Yuppie Free Concert", San Francisco

| writer5 = Bob Dylan (lyrics and music)

| extra5 = U2

| length5 = 4:24

| title6 = I Still Haven't Found What I'm Looking For

| note6 = live at Madison Square Garden, New York

| extra6 = U2 with The New Voices of Freedom

| length6 = 5:53

| title7 = Freedom for My People

| writer7 = Sterling Magee (lyrics and music); Adam Gussow (music)

| extra7 = Sterling Magee and Adam Gussow

| length7 = 0:38

| title8 = Silver and Gold

| note8 = live from Denver, Colorado

| extra8 = U2

| length8 = 5:50

| title9 = Pride (In the Name of Love)

| note9 = live from Denver, Colorado

| extra9 = U2

| length9 = 4:27

| title10 = Angel of Harlem

| extra10 = U2

| length10 = 3:49

| title11 = Love Rescue Me

| writer11 = Bono and Bob Dylan (lyrics)

| extra11 = U2 with Bob Dylan

| length11 = 6:24

| title12 = When Love Comes to Town

| extra12 = U2 with B. B. King

| length12 = 4:14

| title13 = Heartland

| extra13 = U2

| length13 = 5:02

| title14 = God Part II

| extra14 = U2

| length14 = 3:15

| title15 = The Star Spangled Banner

| writer15 = John Stafford Smith (music)

| note15 = live

| extra15 = Jimi Hendrix

| length15 = 0:43

| title16 = Bullet the Blue Sky

| note16 = live at Sun Devil Stadium, Tempe, Arizona

| extra16 = U2

| length16 = 5:37

| title17 = All I Want Is You

| extra17 = U2

| length17 = 6:30

}}

{{Infobox film

| name = U2: Rattle and Hum

| image = U2r&hfilm.jpg

| caption = Theatrical release poster

| director = Phil Joanou

| producer = Michael Hamlyn

| starring = U2

| music = U2

| cinematography = Robert Brinkmann
(black-and-white footage)
Jordan Cronenweth
(Color footage)

| editing = Phil Joanou

| studio = Midnight Films

| distributor = Paramount Pictures

| released = {{Film date|df=y|1988|10|27|Ireland|1988|11|4|United States}}

| runtime = 98 minutes

| country = United States

| language = English

| budget = $5 million

| gross = $8.6 million{{cite web|url=http://www.boxofficemojo.com/movies/?id=u2rattleandhum.htm|title=U2: Rattle and Hum (1988)|website=Box Office Mojo|access-date=21 June 2017}}

}}

{{Track listing|

| extra_column = Performer

| title1 = Helter Skelter

| note1 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| writer1 = Lennon–McCartney

| extra1 = U2

| title2 = Van Diemen's Land

| note2 = recorded at the Point Depot, Dublin, Ireland, May 1988Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, p. 122

| writer2 = The Edge

| extra2 = U2

| title3 = Desire

| note3 = recorded at the Point Depot, Dublin, Ireland, May 1988Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, p. 122

| extra3 = U2

| title4 = Exit"/"Gloria

| note4 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| writer4 = U2 ("Exit"), Van Morrison ("Gloria")

| extra4 = U2

| title5 = I Still Haven't Found What I'm Looking For

| note5 = rehearsal recorded at Harlem, New York, September 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, p. 113

| extra5 = U2 with The New Voices of Freedom

| title6 = Freedom for My People

| writer6 = Adam Gussow and Sterling Magee

| extra6 = Sterling Magee and Adam Gussow

| title7 = Silver and Gold

| note7 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| writer7 = Bono

| extra7 = U2

| title8 = Angel of Harlem

| note8 = recorded at Sun Studio, Memphis, Tennessee, 30 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, p. 119Peter Williams and Steve Turner, 1988, U2: Rattle and Hum: The Official Book of the U2 Movie, pp. 46-47. The Sun Studio session was on a Monday night, later on the same day as the Graceland footage was filmed, between the 28 November gig at Murfreesboro and the 3 December gig at Miami. In 1987, this was 30 November.

| extra8 = U2

| title9 = All Along the Watchtower

| note9 = live at Justin Herman Plaza, San Francisco, California, 11 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 116-117

| writer9 = Bob Dylan

| extra9 = U2

| title10 = In God's Country

| note10 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| extra10 = U2

| title11 = When Love Comes to Town

| note11 = afternoon rehearsal and evening live performance at Tarrant County Convention Center, Fort Worth, Texas, 24 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, p. 118

| extra11 = U2 with B. B. King

| title12 = Heartland

| extra12 = U2

| title13 = Bad"/"Ruby Tuesday"/"Sympathy for the Devil

| note13 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| writer13 = U2 ("Bad"), Jagger/Richards ("Ruby Tuesday", "Sympathy for the Devil")

| extra13 = U2

| title14 = Where the Streets Have No Name

| note14 = live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 120-121

| extra14 = U2

| title15 = MLK

| note15 = live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 120-121

| extra15 = U2

| title16 = With or Without You

| note16 = live at Sun Devil Stadium, Tempe, Arizona, 19 December 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 120-121

| extra16 = U2

| title17 = The Star Spangled Banner

| note17 = Excerpt

| writer17 = John Stafford Smith

| extra17 = Jimi Hendrix

| title18 = Bullet the Blue Sky

| note18 = live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 120-121

| extra18 = U2

| title19 = Running to Stand Still

| note19 = live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 120-121

| extra19 = U2

| title20 = Sunday Bloody Sunday

| note20 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| extra20 = U2

| title21 = Pride (In the Name of Love)

| note21 = live at McNichols Arena, Denver, Colorado, 8 November 1987Pimm Jal de la Parra, 1994, U2 Live: A Concert Documentary, pp. 115-116

| extra21 = U2

| title22 = All I Want Is You

| note22 = Heard over end credits

| extra22 = U2

| all_writing =

| length1 =

| total_length =

}}

• Bono – lead vocals, guitars, harmonica
• The Edge – guitars, keyboards, backing vocals, lead vocals on "Van Diemen's Land"
• Adam Clayton – bass guitar
• Larry Mullen Jr. – drums, percussion

Guest performers

• Bob Dylan – Hammond organ on "Hawkmoon 269", backing vocals and songwriting on "Love Rescue Me"
• The New Voices of Freedom – gospel choir on "I Still Haven't Found What I'm Looking For"
• George Pendergrass, Dorothy Terrell – vocal soloists
• Joey Miskulin – organ on "Angel of Harlem"
• The Memphis Horns – horns on "Angel of Harlem" and "Love Rescue Me"
• B. B. King – guest vocals and lead guitar on "When Love Comes to Town"
• Billie Barnum, Carolyn Willis, and Edna Wright – backing vocals on "Hawkmoon 269"
• Rebecca Evans Russell, Phyllis Duncan, Helen Duncan – backing vocals on "When Love Comes to Town"
• Brian Eno – keyboards on "Heartland"
• Benmont Tench – Hammond organ on "All I Want Is You"
• Van Dyke Parks – string arrangement on "All I Want Is You"

Additional musicians (field recordings and tapes)

• Satan and Adam (Sterling Magee and Adam Gussow) – vocals, guitar, percussion, and harmonica on "Freedom for My People" (sourced from field recording)
• Jimi Hendrix – electric guitar on "The Star Spangled Banner" (sourced from Woodstock: Music from the Original Soundtrack and More as played through U2's concert PA system)

{{col-begin}}

{{col-2}}

{{col-2}}

{{col-end}}

{{col-begin}}

{{col-2}}

{{Certification Table Top}}

{{Certification Table Entry|region=Argentina|type=album|title=Rattle and hUm|artist=U2|award=Gold|relyear=1988|certyear=1990|certref={{cite web|url=http://www.capif.org.ar/Default.asp?PerDesde_MM=0&PerDesde_AA=0&PerHasta_MM=0&PerHasta_AA=0&interprete=&album=&LanDesde_MM=1&LanDesde_AA=1980&LanHasta_MM=12&LanHasta_AA=2010&Galardon=O&Tipo=1&ACCION2=+Buscar+&ACCION=Buscar&CO=5&CODOP=ESOP |archive-url=https://archive.today/20110706084844/http://www.capif.org.ar/Default.asp?PerDesde_MM=0&PerDesde_AA=0&PerHasta_MM=0&PerHasta_AA=0&interprete=&album=&LanDesde_MM=1&LanDesde_AA=1980&LanHasta_MM=12&LanHasta_AA=2010&Galardon=O&Tipo=1&ACCION2=+Buscar+&ACCION=Buscar&CO=5&CODOP=ESOP |archive-date= 6 July 2011 |title=Discos de oro y platino |access-date=7 February 2019|publisher=Cámara Argentina de Productores de Fonogramas y Videogramas |language=es |url-status=dead}}}}

{{Certification Table Entry|region=Australia|award=Platinum|number=7|relyear=1988|type=album|artist=U2|title=Rattle and Hum|certyear=1996|access-date=13 July 2021}}

{{Certification Table Entry|region=Brazil|award=Gold|relyear=1988|certyear=1994|type=album|artist=U2|title=Rattle and Hun|access-date=26 July 2020}}

{{Certification Table Entry|region=Canada|award=Platinum|number=7|relyear=1988|certyear=2000|type=album|artist=U2|title=Rattle and Hum|access-date=26 July 2020}}

{{Certification Table Entry|region=Denmark|award=Gold|relyear=1988|type=album|title=Rattle and Hum|artist=U2|certref={{cite web|url=https://www.americanradiohistory.com/Archive-Music-and-Media/80s/1989/M&M-1989-03-04.pdf|title=A Celebration|magazine=Music & Media|volume=6|issue=9|page=7|date=4 March 1989|via=American Radio History|access-date=24 November 2019}}}}

{{Certification Table Entry|region=Finland|award=Gold|relyear=1988|certyear=1989|type=album|artist=U2|title=Rattle and Hum|salesamount=28,632|access-date=26 July 2020}}

{{Certification Table Entry|region=France|award=Platinum|source=infodisc|relyear=1988|type=album|artist=U2|title=Rattle and Hum|certyear=1995}}

{{Certification Table Entry|region=Germany|award=Platinum|relyear=1988|type=album|certyear=1999|artist=U2|title=Rattle and Hum|access-date=26 July 2020}}

{{Certification Table Entry|region=Hong Kong|award=Gold|relyear=1988|type=album|artist=U2|title=Rattle and Ram|certyear=1989|access-date=30 November 2019}}

{{Certification Table Entry|region=Italy|artist=U2|title=Rattle and Hum|type=album|nocert=true|salesamount=25,000|relyear=1977|note=sales in 1989|salesref={{cite journal|url=https://worldradiohistory.com/Archive-Billboard/80s/1989/BB-1989-12-09.pdf|title=Italy > Talent Challenges|journal=Billboard Magazine|publisher=Nielsen Business Media, Inc.|first=Daniele|last=Caroli|volume=101|number=49|page=I-8|date=9 December 1989|issn=0006-2510|via=World Radio History|access-date=26 July 2020}}}}

{{Certification Table Entry|region=Netherlands|award=Platinum|relyear=1988|type=album|artist=U2|title=Rattle and Hum|certyear=1988|access-date=26 July 2020}}

{{Certification Table Entry|region=New Zealand|award=Platinum|relyear=1988|type=album|title=Rattle and Hum|id=1989-10-13|source=newchart|access-date=2024-11-20|artist=U2}}

{{Certification Table Entry|region=Norway|award=Gold|relyear=1988|type=album|title=Rattle and Hum|artist=U2|certref=|access-date=24 November 2019}}

{{Certification Table Entry|region=Portugal|award=Platinum|relyear=1988|title=Rattle and Hum|artist=U2|type=album|certref={{cite magazine|url=https://worldradiohistory.com/Archive-Billboard/90s/1990/BB-1990-04-14.pdf|title=INTERNATIONAL: Floyd, Kaoma Top Sellers In Portugal Certs|magazine=Billboard|page=69|volume=102|issue=15|date=14 April 1990|via= World Radio History|first=Fernando|last=Tenente|access-date=28 November 2020}}}}

{{Certification Table Entry|region=Spain|award=Platinum|relyear=1988|certyear=1989|type=album|artist=U2|title=Rattle And Hum|certref={{Citation|title = Sólo Éxitos 1959–2002 Año A Año: Certificados 1979–1990| url=http://www.mediafire.com/view/x263f6daopkswo8 | publisher=Iberautor Promociones Culturales|language=es| isbn=8480486392| year=2005 }}|access-date=7 February 2019}}

{{Certification Table Entry|region=Sweden|award=Gold|relyear=1988|type=album|title=Rattle and Hum|artist=U2|certyear=1988|access-date=24 November 2019}}

{{Certification Table Entry|region=Switzerland|award=Platinum|number=2|relyear=1988|certyear=1991|type=album|artist=U2|title=Rattle and Hum|refname=IFPI Switzerland|access-date=26 July 2020}}

{{Certification Table Entry|region=United Kingdom|award=Platinum|number=4|relyear=1988|certyear=1995|id=5364-263-2|type=album|artist=U2|title=Rattle and Hum|access-date=26 July 2020}}

{{Certification Table Entry|region=United States|award=Platinum|number=5|relyear=1988|certyear=1995|type=album|artist=U2|title=Rattle and Hum|access-date=26 July 2020}}

{{Certification Table Summary}}

{{Certification Table Entry|type=album|artist=U2|region=Worldwide|nocert=true|salesamount=14,000,000|salesref={{cite web|last1=Springer|first1=Matt|title=Top 10 Covers of Beatles 'White Album' Songs|url=http://ultimateclassicrock.com/beatles-white-album-covers/|website=Ultimate Classic Rock|date=22 November 2013 |access-date=26 July 2020}}}}

{{Certification Table Bottom}}

{{col-2}}

{{Certification Table Top}}

{{Certification Table Entry|region=Germany|award=Platinum|number=2|relyear=1988|type=video|title=Rattle and Hum|access-date=26 July 2020}}

{{Certification Table Entry|region=United Kingdom|award=Platinum|number=3|relyear=2001|certyear=2013|type=video|artist=U2|title=Rattle and Hum|id= 5364-263-5|access-date=26 July 2020}}

{{Certification Table Bottom}}

{{col-end}}

Footnotes

{{reflist|30em}}

Bibliography

{{refbegin}}

• {{cite book|last1=Graham|first1=Bill|first2=Caroline|last2=van Oosten de Boer|title=U2: The Complete Guide to Their Music|publisher=Omnibus Press|year=2004|location=London|isbn=0-7119-9886-8}}
• {{cite book|last=McGee|first=Matt|title=U2: A Diary|publisher=Omnibus Press|location=London|year=2008|isbn=978-1-84772-108-2}}
• {{cite book|first=Niall|last=Stokes|author-link=Niall Stokes|title=U2: Into the Heart – The Stories Behind Every Song|publisher=Thunder's Mouth Press|year=2005|location=New York|isbn=1-56025-765-2}}
• {{cite book|last1=Scrimgeour|first1=Diana|title=U2 Show|publisher=Orion Books|year=2004|location=London|isbn=0-7528-5607-3}}
• {{cite book|author=U2|editor1-first=Neil|editor1-last=McCormick|editor1-link=Neil McCormick|title=U2 by U2|url=https://archive.org/details/u2byu200u2ne|url-access=registration|publisher=HarperCollins|location=London|year=2006|isbn=0-00-719668-7}}

{{refend}}

• [https://www.u2.com/music/albums/4008 Rattle and Hum] at U2.com
• {{IMDb title|qid=Q8891698|id=tt0096328}}
• {{Discogs master|62619}}

{{Rattle and Hum|state=expanded}}

{{The Joshua Tree}}

{{U2}}

{{Phil Joanou}}

{{Authority control}}

{{DEFAULTSORT:Rattle And Hum}}

Category:1988 albums

Category:1988 films

Category:1988 live albums

Category:1988 soundtrack albums

Category:Albums produced by Jimmy Iovine

Category:Albums recorded at A&M Studios

Category:Albums recorded at Sun Studio

Category:American black-and-white films

Category:Black-and-white documentary films

Category:Films directed by Phil Joanou

Category:Island Records albums

Category:Island Records live albums

Category:Island Records soundtracks

Category:Paramount Pictures films

Category:Rockumentaries

Category:U2 albums

Category:U2 films

Category:U2 live albums

Category:Roots rock albums

Category:Documentary film soundtracks

Category:1980s English-language films

Category:English-language documentary films

Category:1980s in Irish music