introduction, "Before any words are sung, the sounds alone alert the listener that the band has moved into new expressive territory." After the introduction, the song follows a conventional verse-chorus form. The first verse begins one minute into the song, with Bono announcing, "I'm ready, I'm ready for the laughing gas". During the verses, he sings primarily in a medium-to-low range and his vocals are treated with heavy processing, which takes out the bottom of the sound and "emasculate[s]" his voice. The processing also introduces a wavering quality to his vocals. The guitar glissando continues to be played during the verses. The first chorus begins at 1:44, and the music mirrors the change in chord progression from the introduction's last 15 seconds. During the chorus, the bassline becomes more dynamic, playing descending quarter notes of G–F–D–C–D–C–A–G–A, before resuming the previous G and A pattern. Bono's vocals also become more dynamic in the chorus, featuring layers of both "open-throated" singing and monotone lyric recitation, as well as both processed and unprocessed vocals. Along with introducing the band's new sound, the song opens the album as a statement of intent. Lyrically, new anticipations and appetites are suggested ("I'm ready for what's next"), as is a willingness to throw caution to the wind and take risks ("I'm ready to let go of the steering wheel"). Some of the lyrics, particularly those in the bridge before the final chorus, use the eponymous subway station as a metaphor for time: "Time is a train / Makes the future the past / Leaves you standing in the station / Your face pressed up against the glass". Bono cites the enjoyment of his first child born in 1989 as a major influence on Achtung Baby, as was his wife's second pregnancy during the album's 1991 recording. Bono says babies influenced the lines from the first verse, "I'm ready to say I'm glad to be alive / I'm ready, I'm ready for the push". Reception and legacy Upon the release of Achtung Baby, "Zoo Station" was praised by many critics. Steve Morse of The Boston Globe said the song was one on which "sonic assaults are teamed with dreamily processed vocals that recall Beatles psychedelia". The Orlando Sentinel called it "blistering" and praised the low mixing of Bono's vocals, which allowed The Edge's "new versatility" on guitar to draw more attention. BBC Music enjoyed "The Edge's guitar squall