Review of All That You Can't Leave Behind
By Abhijay Prakash
The second track ("Stuck In A Moment That You Can't Get Out Of")
from U2's new disc, All That You Can't Leave Behind, begins with the
following singing statement from lead singer Bono, "I am not afraid of
anything in this world. There's nothing you can throw at me that I haven't
already heard. I'm just trying to find a decent melody, a song that I can sing
in my own company." Since I'm probably not going to randomly quote from
this album (I'll wait for the next Marilyn Manson to try that reviewing
technique out), you might guess that I am attaching some significance to this
quote. Indeed, the boys from Dublin seem to be laying out their intention to
ignore the unreasonable swirl of expectations from critics, fans, and those
pesky old-school U2 zealots by demonstrating their intent to get "back on
song." Well, I'm here to tell you that U2 successfully follows through on
that intention with this collection of traditionally arranged,
stripped-down-but-still-modern songs on ATYCLB.
Let's be clear about one thing, however. This isn't a return to U2's “classic”
sound. While I may be one of the few who enjoyed U2's foray into the postmodern
industrial world, this album is also not an extension of the heavily processed
mayhem of 1997's Pop or even a sonic sequel to 1992's groundbreaking
masterpiece Achtung Baby (Zooropa doesn't count because it was
just a tour-inspired EP that ended up being ten songs long). However, there is a
similarity in lyric and mood between ATYCLB and Pop that lingers
beneath the contrasting production elements. I can't spend the whole review on
this topic, but compare “Staring at the Sun” with “Kite” for sonic
similarities, especially in the chorus, while topically and lyrically “New
York” and “Miami” also seem to come from the same family of song. If
anything is “retro” about this album, it is that Bono, your friendly
neighborhood lead singer, carries most of the songs as he did in the old days.
Bono, he of tender falsettos, political motivations, and hushed intimacy, is
back, and soulful rock 'n roll is his reward (end of Spiderman theme song
simile).
So what about the songs? The rousing “Beautiful Day” gets things started
in grand fashion. The song captures the blending of U2 new and old with its
loop-heavy sequences (that funny spacey effect you hear) and soaring background
vocals. Unfortunately, Bono's lyrics here and elsewhere in the album leave
something to be desired (see the forced rhyming on “Elevation,” the trite
Sinatra ripoff “New York,” and the cringe-worthy "Peace on
Earth"). However, lest you think Bono has lost his lyrical edge, the
soulful "In a Little While" and the political "Walk On"
stand up as some of his best-written songs ever. For most bands, two or three
lyrical gems per album are enough (actually for most bands, lyrics that don't
rely on repeatedly rhyming the word "you" with itself is good enough),
but once again, the high U2 standard makes disappointment inevitable.
Despite this unevenness in lyrical quality, most of the songs still sound
pretty good. “Elevation,” for all its BSB-inspired rhyming, is a hip-swaying
rocker, “Wild Honey” is breezy up-tempo fun, and even the unfortunately
named “Stuck in a Moment…” is surprisingly engaging. All the tools of
traditional songcraft here, catchy hooks, charming melodies, the familiar
verse-chorus-verse structure, Bono's purring heartfelt vocals, and Edge's
momentum-building bridges. Though the irony and bombast of past U2 albums are
jettisoned, it is somewhat reassuring to find a set of quality rock'n'roll
singles left behind.
No one will call ATYCLB a challenging album, or even a new vanguard in
rock 'n roll history, but who uses the word "vanguard" to describe
music except pretentious rock critics? ATYCLB is a strong collection of
rock singles, and you know what? That's good enough to keep U2 relevant and to
satisfy this fan.
Mood:
Driving Music
Hear it?:
Buy the CD
