But the band still flailed while pairing these parts into a proper song - particularly amid the tension of their sessions at Berlin’s Hansa Studios, intensely dissecting the arrangement with co-producer Daniel Lanois. They had two key pieces: Clayton’s seductive, repetitive bass line, and Edge’s aggressive, atomic wah, which hit with the intensity of a firing squad. I said, ‘What’s that sound?’ He said, ‘I don’t know, I’ve just come up with it.’ I said, ‘We need it for ‘Mysterious Ways.’” “I heard it from another room and ran in. “Edge got a new pedal he was playing around with, making this envelope of sound which would turn a guitar chord into the funkiest of jackhammers,” Bono added.
“But it was never much more than a one-note groove for a long time.” However, as with so many of their previous songs, the Edge lifted the idea by messing around with unusual guitar effects. “‘Mysterious Ways’ was a bass line in search of a song,” singer Bono wrote in the band’s 2006 autobiography, U2 by U2. They knew it had a central riff worth developing: Clayton’s primal bass groove, which previously emerged while recording their 1990 charity cover of Cole Porter’s jazz-pop tune “Night and Day.” But nothing else seemed to stick. Those two seemingly opposite vibes - harsh guitar tones and club-friendly beats - became the foundation of “Mysterious Ways.” U2 first started tinkering with the track at Dublin’s STS Studios, building on an improvisation they called “Sick Puppy,” with the Edge, singer Bono and bassist Adam Clayton jamming over a beat box pattern. “It’s music that really confronts you and challenges you, and I wanted some of those elements in what we were doing.” “I was listening to a lot of really out-there, experimental dance music and hardcore guitar music, industrial music - I just really loved the energy of it, the sounds of it,” the Edge told Redbeard.
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