# xmcd
#
# Track frame offsets: 
#        150
#        18755
#        39177
#        56237
#        78452
#        98462
#        114900
#        131900
#        153530
#        172857
#        197627
#
# Disc length: 2965 seconds
#
# Revision: 103
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.95b4
#
DISCID=7e0b930b
DTITLE=U2 / All That You Can't Leave Behind 
DYEAR=2000
DGENRE=Rock
TTITLE0=Beautiful Day
TTITLE1=Stuck In A Moment You Can't Get Out Of
TTITLE2=Elevation
TTITLE3=Walk On
TTITLE4=Kite
TTITLE5=In A Little While
TTITLE6=Wild Honey
TTITLE7=Peace On Earth
TTITLE8=When I Look At The World
TTITLE9=New York
TTITLE10=Grace
EXTD=All That You Can't Leave Behind - Disc 1 of 2\n2000 Interscope In
EXTD=ternational Music\n\nOriginally Released October 31, 2000 \n\nAMG
EXTD= EXPERT REVIEW: Nearly ten years after beginning U2 Mach II with 
EXTD=their brilliant seventh album Achtung Baby, U2 ease into their th
EXTD=ird phase with 2000's All That You Can't Leave Behind. The title 
EXTD=signifies more than it seems, since the group sifts through its p
EXTD=ast, working with Daniel Lanois and Brian Eno, all in an effort t
EXTD=o construct a classicist U2 album. Thankfully, it's a rock record
EXTD= from a band that absorbed all the elastic experimentation, studi
EXTD=o trickery, dance flirtations, and genre bending of Achtung, Zoor
EXTD=opa, and Pop -- all they've shed is the irony. U2 choose not to d
EXTD=elve as darkly personal as they did on Achtung or Zooropa, yet th
EXTD=ey also avoid the alienating archness of Pop, returning to the ge
EXTD=nerous spirit that flowed through their best '80s records. On tha
EXTD=t level, All may be reminiscent of The Joshua Tree, but this is a
EXTD= clever and craftsmanlike record, filled with nifty twists in the
EXTD= arrangements, small sonic details, and colors. U2 take subtle ri
EXTD=sks, such as their best pure pop song ever with "Wild Honey"; the
EXTD=y're so self-confident they effortlessly write their best anthem 
EXTD=in years with "Beautiful Day"; they offer the gospel-influenced "
EXTD=Stuck in a Moment," never once lowering it to the shtick it would
EXTD= have been on Rattle and Hum. Like any work from craftsmen, All T
EXTD=hat You Can't Leave Behind winds up being a work of modest pleasu
EXTD=res, where the way the verse eases into the chorus means more tha
EXTD=n the overall message, and this is truly the first U2 album where
EXTD= that sentiment applies -- but there is genuine pleasure in their
EXTD= craft, for the band and listener alike.  -- Stephen Thomas Erlew
EXTD=ine\n\nAmazon.com's Best of 2000\nThe foursome come roaring out o
EXTD=f the blocks with their latest collection. The album's first sing
EXTD=le, "Beautiful Day," raced to the No. 1 slot on the U.K. singles 
EXTD=charts and received a similar rapturous reception stateside. From
EXTD= its shimmering preamble to its sweeping, infectious chorus, it p
EXTD=erfectly stakes out the middle ground between the anthemic U2 of 
EXTD=the '80s and the more grounded group of the '90s. With Daniel Lan
EXTD=ois and Brian Eno sharing production chores again after having ta
EXTD=ken a break with Pop, the U2 team enters the new millennium with 
EXTD=their lineup--and mission--intact. --Steven Stolder \n\nAmazon.co
EXTD=m essential recording\nIf U2 hadn't used the title already, "A So
EXTD=rt of Homecoming" might have suited this, their 10th studio album
EXTD=. All That You Can't Leave Behind sounds, at various points, like
EXTD= any or all of U2's previous albums, as if the band is sending po
EXTD=stcards back from a protracted ramble through previously conquere
EXTD=d territories. The euphoric opening track, "Beautiful Day," reint
EXTD=roduces Edge's signature delay-laden guitar, which has been prett
EXTD=y much absent since The Unforgettable Fire. Elsewhere, the gospel
EXTD= stylings of Rattle and Hum resurface on "Stuck in a Moment," and
EXTD= the deranged, Prodigy-influenced dance textures that characteriz
EXTD=ed 1997's Pop crop up on "Elevation." None of which suggest that 
EXTD=this commendably restless bunch is running out of ideas. Having s
EXTD=pent the '90s making three of the most bizarre and adventurous al
EXTD=bums ever delivered by a stadium-rock band (the consecutive maste
EXTD=rpieces Achtung Baby, Zooropa, and Pop), it's as if they're now t
EXTD=rying to figure out what is the one particular thing they've alwa
EXTD=ys done best. Based on the evidence presented here, their forte r
EXTD=emains a facility for making the epic statement alongside Bono's 
EXTD=increasing lyrical intimacy: "Walk On" and "Peace on Earth" are t
EXTD=wo of the best things he's ever written or sung. All That You Can
EXTD='t Leave Behind confirms that U2's laurels are still making them 
EXTD=itch. --Andrew Mueller \n\nAMAZON.COM CUSTOMER REVIEW\nCherubs' e
EXTD=yes, October 18, 2000\nReviewer: J. Wimmer (New York City)\nOh, m
EXTD=y AP English class has finally paid off, because now I understand
EXTD= why U2 has gone from "brilliant" to "more brilliant" to "more br
EXTD=illiant still."  I'm talking about William Blake, the 18th-centur
EXTD=y poet who authored the "Songs of Innocence and Experience." Don'
EXTD=t click away--even if you know nothing about poetry, if you know 
EXTD=something about U2, you'll appreciate this...\n\nThe theme of the
EXTD= "Songs" is this: We enter the world with a pure, unaffected poin
EXTD=t of view. As such, we perceive it with unadulterated clarity, bu
EXTD=t we lack the understanding to appreciate what we see.\n\nWith ex
EXTD=perience comes this understanding, but at what price? We lose the
EXTD= clarity of perception we were born with.\n\nAs understanding inc
EXTD=reases, though, we realize this. And then we become whole. Only t
EXTD=hrough innocence can we become experienced. Only through experien
EXTD=ce can we appreciate innocence.\n\nNow, who's that sound like? An
EXTD= Irish rock group, maybe, who started out waving a white flag, pr
EXTD=oclaiming, "I Will Follow"? Who saw the world in black and white 
EXTD=and knew exactly which side they were on?\n\nThe same group saved
EXTD= themselves by diving headfirst into the black, as it were. With 
EXTD=the Zoo TV experience, they immersed themselves in the sensual an
EXTD=d the secular. In fact, they did that so thoroughly that to this 
EXTD=day, older, more simpleminded fans resent them for it.\n\nThe sim
EXTD=pletons can rejoice, and so can us Achtung Babies who understand 
EXTD=what U2 did and why they had to do it, and love them for it. It s
EXTD=tarted on "Pop," and it's happened on "All That You Can't Leave B
EXTD=ehind": U2 have come full circle, become whole. They are innocent
EXTD= again. They understand the world around them, and now they know 
EXTD=why this is black, why that's white, and why there's so much gray
EXTD=.\n\nThe band who created "All..." aren't afraid to wear their co
EXTD=llective heart on their collective sleeve again. They aren't afra
EXTD=id to ask for "Peace on Earth." They can write the sweetest, most
EXTD= lovingest love song they've ever written now--"Wild Honey"--beca
EXTD=use they know now that beyond the darkness love is certainly wait
EXTD=ing.\n\nThey've made their phone calls from Hell, and they are mo
EXTD=re aware than ever that, while the dark places won't go away, the
EXTD= world is still a true, beautiful place. They're seeing with cher
EXTD=ubs' eyes now--the eyes of wise children.\n\nThey said they wante
EXTD=d to make an album about joy, and that it wouldn't be easy. They'
EXTD=ve more than risen to the challenge.\n\nBuy this album. Buy it no
EXTD=w. Click now. It will make your problems go away, at least for a 
EXTD=little while. It will make your soul soar. It will make you sing.
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nAn excellent addition to a great 
EXTD=body of work, November 6, 2000\nReviewer: Paul M. Gunther (Los An
EXTD=geles, CA USA)\nThere are U2 listeners under the mistaken impress
EXTD=ion that U2 is The Joshua Tree, and that everything after that wa
EXTD=s untrue to their image. Then there are those that realize that T
EXTD=he Joshua Tree was just one of the many images the band has emplo
EXTD=yed throughout their career, and was never meant to be permanent.
EXTD= They have continually evolved their sound through the years. To 
EXTD=listeners of Boy and October, the U2 of The Joshua Tree was comme
EXTD=rcial and a divergence from their true self. To listeners of The 
EXTD=Joshua Tree, the U2 of Pop was commercial and divergent from thei
EXTD=r true self. Then there are those that realize that the songs are
EXTD= always the same: it's how the band plays them that changes.\nHow
EXTD= does U2 play those songs on All That You Can't Leave Behind? Ver
EXTD=y well.\n\n"Beautiful Day": When you lose everything, you can sti
EXTD=ll stop, look around, and realize, Yeah, I'm broke and destitute,
EXTD= but isn't it beautiful out today? The first single, though that 
EXTD=honor likely should have gone to "Elevation", which will likely f
EXTD=ind greater chart success.\n\n"Stuck In a Moment You Can't Get Ou
EXTD=t Of": A Motown-flavored ballad. A song about suicide; or, rather
EXTD=, suicide prevention. About realizing that wherever you are at ri
EXTD=ght now, you won't be there forever. Every moment ends. This feel
EXTD=ing you're feeling now won't always be there. Also a likely singl
EXTD=e, because the lyrics are dichotomous enough that it sounds like 
EXTD=a straightforward love song. Should find the same audience that d
EXTD=oesn't realize that "Every Breath You Take" is about stalking.\n\n
EXTD="Elevation": A sort of "Even Better Than the Real Thing," in that
EXTD= "Take me higher" could have been lifted from that song and dropp
EXTD=ed in here without missing a beat. Following the pattern set by t
EXTD=he previous two songs on the album, it's about finding inspiratio
EXTD=n and learning to leap up out of the blues. A great rocker, with 
EXTD=some of the dance rhythms the band experimented with on Pop held 
EXTD=over for subtle use here. Would make a great show opener. Favorit
EXTD=e lyric: "At the corner of your lips / As the orbit of your hips 
EXTD=/ Eclipse / You elevate my soul"\n\n"Kite": Probably my favorite 
EXTD=song on the album. Flying away, floating on a leisurely breeze li
EXTD=ke a kite in the wind, is the metaphor. Just go with the wind. Yo
EXTD=u can't control it, so just learn to enjoy it. \n\n"In a Little W
EXTD=hile": An unusual little number for the band, with a great guitar
EXTD= lick by Edge kicking off a sweet song about missing someone; abo
EXTD=ut being able to stop and enjoy missing someone.\n\n"Wild Honey":
EXTD= U2 idealizes The White Album, the album that gave us "Honey Pie"
EXTD= and "Wild Honey Pie". Now, U2 gives us the completely unrelated 
EXTD="Wild Honey". One of the few straightforward songs on the album. 
EXTD=After Jimmy Buffet wrote a song about the misadventure he shared 
EXTD=with Bono in Jamaica, it seems only fitting that the boys write s
EXTD=omething with Jimmy's flavor.\n\n"Peace on Earth": Another straig
EXTD=htforward song. With a title like this, it's hard to mistake what
EXTD= it's about, but it does contain some of the most meaningful lyri
EXTD=cs Bono's ever written. A reminder to those who make the mistake 
EXTD=that U2 left behind their care for the world with Zooropa and Pop
EXTD=. It's always been there; they just stopped beating people over t
EXTD=he head about it.\n\n"New York": After doing Miami last time and 
EXTD=New York this time, I guess the only thing left is Los Angeles. D
EXTD=enver, maybe? Poughkeepsie?\n\nThough more mellow than most of th
EXTD=eir albums, there is a lot here to listen to. One of the best alb
EXTD=ums the band has produced in their career, and certainly one of t
EXTD=he best albums of the year.\n\nAMAZON.COM CUSTOMER REVIEW\nU2 Rec
EXTD=onnects with Essential Cargo: Passion, September 7, 2006\nReviewe
EXTD=r: JP (Boise, ID)\n'All That You Can't Leave Behind' is a thrilli
EXTD=ng comeback for U2. They are still high-tech, but they reinvent t
EXTD=heir sound more modestly in a manner that brings back the passion
EXTD= of earlier classics. The quality of the lyrics and the variety o
EXTD=f musical endeavors, make this album a classic. \n\nLifting thems
EXTD=elves and their listeners up from the despair and high-tech exper
EXTD=imentation of 'Pop' and 'Zooropa,' U2 connect with some loving in
EXTD=spiration that is both divine and human. "A Beautiful Day" kicks 
EXTD=off the C.D. with a propelling song that celebrates the beauty of
EXTD= nature and life. It is the perfect wake-up song. Then, they embr
EXTD=ace the every day loser with the heartwarming "Stuck in a Moment"
EXTD=. Much of the rest of the album showcases the vitality of romanti
EXTD=c and spiritual love. "Elevation" could celebrate Lord or lover, 
EXTD=much like George Harrison did. Similarly, "Grace," which ends the
EXTD= album, is equally ambiguous. (Do they mean personification like 
EXTD=Dante did with Beatrice in 'The Purgatorio' or is it more New Age
EXTD=?) "Walk On" intricately and expertly caresses the listener out o
EXTD=f despair and into a new day. (It is no surprise that soon after 
EXTD=its release, it became a healing song in the aftermath of 9/11.) 
EXTD="New York" is frenetic musically and lyrically a celebration of t
EXTD=he vitality of the beleaguered city. One of the best moments is w
EXTD=hen they add the acoustic variety with the playful love song, "Wi
EXTD=ld Honey". Then, there is the pensive encouragement of "When I Lo
EXTD=ok at the World," but this is countered by the angry weariness of
EXTD= "Peace on Earth," vocally taken up with Job-like beligerence by 
EXTD=Bono. \n\nSumming it all up, "All That You Can't Leave Behind," i
EXTD=s an uplifting comeback which finds U2 recapturing their old pass
EXTD=ion and the determination to embrace hope and beauty in a fallen 
EXTD=world. Brilliantly, they make a variety of songs that resonate wi
EXTD=th the theme of the theatre classic 'You Can't Take It with You'.
EXTD= Passion and determination are aspects the band can't afford to l
EXTD=eave behind. (4 1/2 *'s) \n\nAMAZON.COM CUSTOMER REVIEW\nSafe and
EXTD= Predictable U2 Pop, August 12, 2006\nReviewer: Wade Tomlin (Toro
EXTD=nto, Ontario)\nWhen All That You Can't Leave behind (ATYCLB) firs
EXTD=t hit the stores the term return to form seemed appropriate for U
EXTD=2. After spending the 90's experimenting and stretching their sou
EXTD=nd into at times a completely different group (see The Passengers
EXTD=), ATYCLB seemed like a return to the groups 80's sensibilities. 
EXTD=\n\nThe resulting success of the record that Rolling Stone called
EXTD= U2's third masterpiece seemed to be a huge compliment to the qua
EXTD=lity of ATYCLB. However as time has moved on and How To Dismantle
EXTD= An Atomic Bomb (HTDAAB) has been released , ATYCLB seems like it
EXTD= was a success based on what the group had done not what the grou
EXTD=p had actually accomplished. \n\nThere is a very blah feeling to 
EXTD=this record as while Beautiful Day and Walk On might have been ca
EXTD=tchy singles, the overall feel of ATYCLB is one of a group retrea
EXTD=ting. Songs such as Kite and Wild Honey might sound okay, but the
EXTD=y seem more like safe choices not artistic accomplishments. One t
EXTD=hing U2 was never previous to this record was boring. Pop in part
EXTD=icular challenged listeners. ATYCLB didn't and doesn't, it is a s
EXTD=afe and inviting step into the band's established sound. \n\nU2 t
EXTD=ried to wrap ATYCLB up in the term simplicity. But really this re
EXTD=cord accomplishes what the band said they were trying to create w
EXTD=ith Pop as it is a straight forward collection of U2 pop rock tun
EXTD=es with none of the previous dabbling in other styles of music. T
EXTD=he end result is as pop as a record you will hear, with the simpl
EXTD=e difference that it is copying the previous style of the band, n
EXTD=ot current trends on radio, leading to a type of repetitive feel 
EXTD=that U2 never had in the 80's. \n\nAMAZON.COM CUSTOMER REVIEW\nU2
EXTD= For Sale, July 12, 2006\nReviewer: Ms. AJ "Right" (North Carolin
EXTD=a, USA)\n"U2 sold out!" That's right folks. Before All That You C
EXTD=an't Leave Behind, U2 were an underground band that only had 40 o
EXTD=r 50 fans who had to decipher a special code to find a map that l
EXTD=ed them to a secret passaged tunnel where U2 were playing from 19
EXTD=79 to 1999. \n\nAn objective person can look at U2's career and n
EXTD=otice that U2 always aimed for the mainstream. Why does every son
EXTD=g on Boy sound anthemic? Why do they sound like Bono is screaming
EXTD= for his life. Because Bono & Boys envisioned those songs being b
EXTD=elted out in stadiums, not in the underground. Why do you think t
EXTD=hey adopted a softer sound on The Unforgettable Fire? To appeal t
EXTD=o the masses. U2 have always been calculated regarding their expo
EXTD=sure. \n\nU2 always desired the mainstream. They've always wanted
EXTD= the attention. The only difference between NOW and THEN is that 
EXTD=the music NOW is just not quite as good. \n\nDetractors turn to t
EXTD=he music of Pop to support their argument of a past U2 that didn'
EXTD=t care about mainstream acceptance. They say that Pop was non mai
EXTD=nstream, and that U2 were in it to take risks and defy mainstream
EXTD= expectations. But these people seem to forget that the Pop album
EXTD= was accompanied by the largest marketing scheme in U2 history wi
EXTD=th their Popmart tour. \n\nI love U2. But let's take them for wha
EXTD=t they are: a mainstream band that has always aimed for the mains
EXTD=tream attention even when they didn't have it. \n\nThis music is 
EXTD=more sedated and pedestrian than past efforts, but can we really 
EXTD=expect a bunch of fortyish multimillionaire rockers to have the s
EXTD=ame flare and passion and earnestness as a bunch of twentyish poo
EXTD=r rockers? U2 pretending they have so much to be angry about in t
EXTD=his stage of the game would just be disingenuous. \n\nU2 fans: th
EXTD=e well is by no means dry. It just takes more elbow grease to pum
EXTD=p.\n\nAMAZON.COM CUSTOMER REVIEW\nA Beautiful Day!, June 16, 2006
EXTD=\nReviewer: Josephll "Feeling The Groove" (CET)\nAfter the exprim
EXTD=ental "Pop" Album from 1997 U2 came back strong again with produc
EXTD=ers Daniel Lanois and Brian Eno who also produced the legendary "
EXTD=Joshua Tree" and "Achtung Baby". "All that You Can't Leave Behind
EXTD=" one sound like good old U2 with a much more classicist rocky so
EXTD=und and great crafted melodies and choruses. It doesn't really co
EXTD=me up in the same level as the classic U2 albums that Eno and Lan
EXTD=ois once produced but it's not that far away. Other then having a
EXTD= great track list, there are some really fantastic songs on this 
EXTD=album aswell that certainly are among the best they did for years
EXTD=. "Beautiful Day" "Stuck In a Moment" and "Wild Honey" comes to m
EXTD=ind. The lyrics on this album seems to make more sense then ever 
EXTD=and U2 proves that they still are excellent musicians going forwa
EXTD=rd. \n\n"Beautiful Day" that is a song about a man who has lost e
EXTD=verything, but finds joy in what he still has. Starts slow but go
EXTD=t a killer hook full of energy and proves U2 at their best and a 
EXTD=perfect concert song. "Stuck in a Moment (You Can't Get Out Of)" 
EXTD=is a tribute to INXS late singer Michael Hutchence that sadly too
EXTD=k his life when thing started to turn sour. In the lyrics Bono tr
EXTD=ied to convince people that suicide is not the last way out. The 
EXTD=song itself is a midtempo that actually isn't riff based, just an
EXTD= hell of a great pop/rock song. "Elevation" is simular to "Vertig
EXTD=o" from their newest album, a riff based rocker and not surprisin
EXTD=gly a hit single too. It was soundtrack to Laura Croft, but the s
EXTD=ong is better then the film. "Walk On", a ballad, was the 4th sin
EXTD=gle, and dedicated to Burma's The song was written about and dedi
EXTD=cated to Burma's activist and freedom fighter Aung San Suu Kyi wh
EXTD=o's been in house arrest for the last 15 years now. "Kite" is app
EXTD=arently a song to Bono's daughter, a good midtempo. \n\n"In a Lit
EXTD=tle While" is an emotional midtempo with good riffs and lyrics bu
EXTD=t far from a single. "Wild Honey" is a fantastic pop song, with B
EXTD=eatlesque refferences and good storyteller too. "Peace on Earth" 
EXTD=is a political song and with a title like that also very straighf
EXTD=orward. Yes, U2 still care about the world. "When I Look at the W
EXTD=orld" continues the same trend, but not quite as good. "New York"
EXTD= a tribute to the wonderful city it is and to Frank Sinatra. This
EXTD= is a very unusual U2 song in slow pace that focus on the lyrics 
EXTD=ahead of the music. You wonder if Bono is trying to imitate Frank
EXTD= a little when he sings it?. It closes with "Grace" yet another s
EXTD=low ballad. "The Ground Beneath Her Feet" is a bonus track and ap
EXTD=pear on most version of the album. \n\nOverall, U2 goes back to w
EXTD=hat they are best at (With a Little Help from Eno/Lanois) after a
EXTD= little weaker exprimental album as "Pop". Here we'll find well c
EXTD=rafted melodies and arrangements and memorable hooks. As always t
EXTD=here are also good lyrics too that deal with serious subjects. It
EXTD='s better then "Pop" and "Atom Bomb". But not quite the masterpie
EXTD=ce of "Joshua Tree" or "Achtung Baby" but "Leave Behind" once aga
EXTD=in proves that U2 is one of the greatest rock bands and they stil
EXTD=l got it inside. 4/5 stars. \n\nAMAZON.COM CUSTOMER REVIEW\nU2 ge
EXTD=t back to business, December 18, 2005\nReviewer: Tim Brough "auth
EXTD=or and music buff" (Springfield, PA United States)\nU2 have alway
EXTD=s been nomadic in their constant pursuit of their muse. It has le
EXTD=ad them down many, varied, paths. Be it the flag waving rebel-son
EXTD=g singers of "Sunday Bloody Sunday" or "I Will Follow," to the se
EXTD=arching, questioning souls of "I Still Haven't Found What I'm Loo
EXTD=king For" or "Pride (In The Name Of Love)," to eventually plungin
EXTD=g headlong into the decadence of stardom with "The Fly" or "Disco
EXTD=theque," reinvention has often been the name of the game. \n\nFor
EXTD= some of us, that game derailed itself after the stunning "Achtun
EXTD=g Baby," with Bono indulging his "I'm just a plastic pop star" ph
EXTD=ase to the hilt. Yet all this time, the concerts and the music wa
EXTD=s rarely less than amazing. Still, the CD's "Pop" and "Zooropa" w
EXTD=eren't the awe-inspiring, transcendent moments that the band seem
EXTD=ed capable of producing with barely a thought to the process. The
EXTD= U2 goal seemed to be, over and over again, to not get trapped in
EXTD= a moment they couldn't get out of, so to speak. \n\nIt seems the
EXTD=n, that after almost a 4 year pause, U2 suddenly realized that ju
EXTD=st being U2 was really not so bad a day job after all. So they em
EXTD=erged with an album that concentrated on the band's strongest poi
EXTD=nts as musicians. Not as personalities, not as saviors to the wor
EXTD=ld (which seems to have become Bono's primary sideline gig), just
EXTD= to merely make great, awe inspiring, transcendent music - again.
EXTD= From the moment "Beautiful Day" juxtaposed its images of beauty 
EXTD=and collapse atop a message of hope ("see the bird with the leaf 
EXTD=in her mouth, after the flood all the colors came out"), you knew
EXTD= that the band had regained its footing and was ready to charge b
EXTD=ravely ahead. \n\nThat message appears repeatedly on "All That Yo
EXTD=u Can't Leave Behind," particularly in the two songs written afte
EXTD=r the death of Bono's friend, INXS lead singer Michael Hutchence.
EXTD= In "Walk On" and "Stuck In A Moment You Can't Get Out Of," Bono 
EXTD=does the soul-searching lyric that he is best at, questioning bot
EXTD=h why Hutchence chose to end his life and also asking himself wha
EXTD=t more he could have done. "Walk On," to me, is as powerful a son
EXTD=g as the band's classic "One." \n\n"All That You Can't Leave Behi
EXTD=nd" works on that power. You will recognize a lot of older U2 her
EXTD=e. "Elevation" mimics "Mysterious Ways," "New York," "Bad." The b
EXTD=and, The Edge in particular, concentrated on the keeping the musi
EXTD=c as uncluttered and unfettered as possible. This is hardly a det
EXTD=riment. U2 entered the new century with a newfound self-confidenc
EXTD=e, secure in the knowing that - whatever tangents they may have s
EXTD=teered through in the past - being the most amazing rock band in 
EXTD=the world was probably the most gratifying business to be in.\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nSoaring high (on fumes)!, October 17,
EXTD= 2005\nReviewer: J. GARRATT "jgarratt" (Columbus, Ohio United Sta
EXTD=tes)\nI hate the phrase "return to form." But when you are talkin
EXTD=g about U2's "All That You Can't Leave Behind" from 2000, it's im
EXTD=possible to ignore phrases like "return to their roots" and "triu
EXTD=mphant comeback." Not because that's what this album ultimately i
EXTD=s, it's because those words were dribbling from the lips of every
EXTD= critic around the world when the album was released. But in the 
EXTD=back of my mind, I flinch at the idea of "returning" within the r
EXTD=ealm of pop music, as if a group like U2 needs to make concession
EXTD=s. It's rock n' roll music, Bono. Not diplomacy. Stop confusing t
EXTD=he two. \n\nIt was an exciting thing to hear, that guitar riff fr
EXTD=om "Beautiful Day." I remember it vividly. I remember thinking th
EXTD=at the whole song rang of a certain confidence that was nowhere t
EXTD=o be heard on "Pop," U2's previous album. "Elevation" kicked out 
EXTD=the jams too. And there were enough ballads like "Kite" and "Stuc
EXTD=k In A Moment You Can't Get Out Of" (silly, redundant title) to f
EXTD=ool people into thinking that U2 sang for the thinking-man's roma
EXTD=ntic side. But your special "comeback" doesn't mean beans if you'
EXTD=re too deliberate about it. Although this is not a bad album, it'
EXTD=s also a realistic picture of U2 trying to do things that they ca
EXTD=n't really do anymore, at least not quite in the same capacity as
EXTD= they used to. \n\nCase in point is "Beautiful Day," the first si
EXTD=ngle and the album's kickoff track. While there is an impressive 
EXTD=display of musical fireworks shooting off in all different ways i
EXTD=n the beginning, the song ultimately comes off as too synthetic. 
EXTD=The Edge (get a different name, man) plays his guitar a little to
EXTD=o seamlessly while the rhythm sections plays more or less what it
EXTD= always has played over the years. All of this would be forgivabl
EXTD=e if it weren't for Bono's tacked-on presence. His falsettos of "
EXTD=re-e-e-each me!" sound like they recorded in a different room, at
EXTD= a different time, from the rest of the band; studio trickery is 
EXTD=supposed to hide such things. The same goes for Bono's falsetto y
EXTD=elps on "Elevation," sounding all too obviously like an overdub. 
EXTD=The frustrating thing is that "Beautiful Day" and "Elevation" are
EXTD= very good songs, but they sound entirely too sleek to be excitin
EXTD=g. \n\nIn a nutshell, this seems to be the problem with the album
EXTD=. The individual songs are good but the overall sound has too man
EXTD=y holes in it. Things just don't add up the way they should. Many
EXTD= factors can be blamed, but one that I can't let go unmentioned i
EXTD=s Bono's voice. Whatever he had, he has lost it. Close listens to
EXTD= "When I Look At The World" and "Wild Honey" (nothing to do with 
EXTD=the Beach Boys) reveal how this once iron-lunged lead singer no l
EXTD=onger has a safety net. That's a shame too, because these are goo
EXTD=d songs. Yet when I hear them, I can't help but think that Bono's
EXTD= pipes are just too rusted for this line of work anymore. \n\nFee
EXTD=ling embarrassed by the shockingly lukewarm reception to 1997's "
EXTD=Pop," the creative side of U2 is toned to a minimum. Only a few t
EXTD=imes does U2 conjure up the nerve to try and make something that 
EXTD=doesn't really sound like it would fit on "The Joshua Tree, Part 
EXTD=II." "In A Little While" is a short and sweet little bouncy ditty
EXTD= that proves what true U2 fans knew all along: good songwriting i
EXTD=sn't always about amping it up. "New York" is a subtle shift, tak
EXTD=ing the stadium-ready rawk a step further. The result is a climac
EXTD=tic, but not entirely catchy at first. But this is a good song, a
EXTD=nd it would prove to be the last time U2 actually took a true-blu
EXTD=e chance on something. \n\nAnd if this is a "return to form," the
EXTD=n there are lots of old faithfuls to fall back on. Much like the 
EXTD=Edge's lead guitar in "Walk On," U2 marches forward while never h
EXTD=eeding the fact that this song sounds like it could've been made 
EXTD=in 1987. And the lyrical content supplies plenty of choose-your-o
EXTD=wn-sentiment for the spiritually hungry with lines like "Don't wa
EXTD=nna see you cry/I know that this is not goodbye" from "Kite." \n\n
EXTD=So in summary, "All That You Can't Leave Behind" has some confide
EXTD=nce. But like "Pop," it doesn't have the same consistency that U2
EXTD= fans are used to seeing. Half of the album is mature while the o
EXTD=ther half wishes it could be twenty years younger. But at the end
EXTD= of the day, who cares? They're rich.\n\nHalf.com Details \nProdu
EXTD=cer: Brian Eno, Daniel Lanois \n\nAlbum Notes\nALL THAT YOU CAN'T
EXTD= LEAVE BEHIND won the 2002 Grammy Award for Best Rock Album. \n\n
EXTD="Beautiful Day" won the 2001 Grammy Awards for Record Of The Year
EXTD=, for Song Of The Year and for Best Rock Performance by a Duo or 
EXTD=Group with Vocal.\n\n"Walk On" won the 2002 Grammy Award for Reco
EXTD=rd Of The Year. \n\n"Elevation" won the 2002 Grammy Award for Bes
EXTD=t Rock Performance By A Duo Or Group With Vocal.\n \n"Stuck In A 
EXTD=Moment You Can't Get Out Of" won the 2002 Grammy Award for Best P
EXTD=op Performance By A Duo Or Group With Vocal.\n\nSeldom has an alb
EXTD=um title been as appropriate as ALL THAT YOU CAN'T LEAVE BEHIND. 
EXTD=Here, U2 returns to its pre-irony '80s glory days with a straight
EXTD=forward rock approach, leaving behind the electronics and intenti
EXTD=onal mock-decadence of POP and ZOOROPA. It quickly becomes clear 
EXTD=however, that the band had to make those albums in order to get t
EXTD=o the ego-free state from which this one emerges. While Larry Mul
EXTD=len's driving beat, Adam Clayton's insistently throbbing bass, th
EXTD=e Edge's chiming guitar, and Bono's soulful vocals mesh as in the
EXTD= days of yore, there's a less messianic feel to the proceedings t
EXTD=hat must have resulted from the group's ego-deflating '90s endeav
EXTD=ors.\n\nWhile POP and ZOOROPA were the sound of four guys having 
EXTD=fun, on this album U2 manages to combine unpretentious joy with t
EXTD=he open-hearted rock power of its early recordings. From the spir
EXTD=itual warmth of "Grace" to the soul leanings of "In a Little Whil
EXTD=e," the band regains the organic quality that had been missing fr
EXTD=om its music of the previous decade. What sounds like an unusuall
EXTD=y hands-off approach on the part of producers Brian Eno and Danie
EXTD=l Lanois can only mean that they were smart enough not to fix wha
EXTD=t was clearly not broken.\n\nIndustry Reviews\nRanked #139 in Rol
EXTD=ling Stone's 500 Greatest Albums Of All Time - ALL THAT YOU CAN'T
EXTD= LEAVE BEHIND brought things back to essentials. The songs grappl
EXTD=e with morality...  Rolling Stone (12/11/2003)
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=
PLAYORDER=
