 U2
All That You Can’t
Leave Behind
CD Review by Norm Elrod
Music can make
you feel like you can change the world, or touch
the soul so profoundly you’re a different
person for having listened. Most artists would
kill for even a single moment of transcendence.
U2 has managed three albums worth – the
trance inducing Unforgettable Fire
(1984), the unearthing of America on The
Joshua Tree (1987), and the harnessed noise
of Achtung Baby (1991). Too bad their
latest All That You Can’t Leave Behind
falls a little short of greatness.
The 80s saw this
Irish foursome rise from the streets of Dublin to
become the biggest band on the planet.
Politically charged rock anthems moved millions
in the stores, over the airwaves and on the
stage, eventually leading to a period of musical
experimentation and indulgence. U2’s worst
work seemed derived from their best work. The
inconsistent Rattle And Hum (1988) grew
out of The Joshua Tree tour, and the
lackluster Zooropa (1993) emerged from
the tour of the same name supporting Achtung
Baby. Pop (1997), U2’s foray
into the world of club music, came off as a
desperate half-assed attempt to catch the
Electronica bandwagon before it passed them by.
Legions of loyal fans were left standing on the
corner, wondering which U2 might show up the next
time around.
All That You
Can’t Leave Behind discards the
excesses of the past decade in favor of
deceptively simple songwriting. Though their best
days have probably passed them by, U2 manages a
quality rock record in the spirit of past
triumphs. Bono still dazzles with his
spine-tingling stadium rock star vocals, from
which even the slightest breath exudes meaning
and emotion. The Edge still coaxes a startling
array of familiar and unfamiliar sounds from his
guitar, leaving techies everywhere pointing and
scratching their heads. And Adam Clayton and
Larry Mullen still lay down the occasional
thunderous or propelling rhythm. A song or two
may even renew a bit of your faith in Rock amidst
the otherwise bleak musical landscape.
Lead single
"Beautiful Day" has captured radio in
recent weeks and for good reason. Bringing
together the more adrenalized bits of "One
Tree Hill" with the electro jangle of
"Where The Streets Have No Name,"
it’s U2 at their finest. Though the lush
harmonic breakdown halfway through is an
effective, if brief, switch from their
traditional song structure, the best moments here
borrow liberally from the group’s hallowed
past. The Edge’s overheated guitars rip
through "Elevation" like they did for
much of Achtung Baby. "Kite"
floats over a subtle string arrangement building
to Bono’s lofty musing "Who’s to
say where the wind will take you," words
that can apply to anyone but seem intended for
you alone. Even the stylized and lyrically obtuse
"New York" ("Irish, Italian, Jews
and Hispanics, Religious nuts, political fanatics
in the stew, Living happily not like me and
you") is reminiscent of October’s
"Rejoice" and "Is That All?"
There are no
bombs here, but a few tracks will be programmed
out of the sequence before too long. The critical
moment of "Stuck In A Moment You Can’t
Get Out Of" conceivably occurred in the
explorative days of Rattle And Hum and
need not often be relived. "In A Little
While" moseys along at a pedestrian pace
like some ill-conceived Clapton/Babyface duet.
Neither will patently offend your good taste. But
both would be better served as b-sides, outtakes
or soundtrack fodder.
Lesser musicians
experience sophomore slumps – which have
more to do with art in the blinding commercial
limelight than the actual making of a second
record. Great ones find new inspiration as their
fortunes change for the better. U2 has maintained
a career based on subtle refinements and complete
overhauls. All That You Can’t Leave
Behind is in many ways both. And while not a
landmark release, U2 has rediscovered what helped
them conquer the world the first time.
Email Norm Elrod
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