U2 - All That You Can't Leave Behind

Written by Eric Olsen
Published September 26, 2003

U2 was the greatest group of the '80s because its members - singer Bono, guitarist the Edge, bassist Adam Clayton, drummer Larry Mullen - like perhaps only Bruce Springsteen in the U.S., still believed that rock 'n' roll could save the world, and had the talent to make that notion not seem hopelessly naive.

This earnestness and willingness to shoulder the heaviest of responsibilities led to soaring heights of achievement and escalating psychic and artistic demands that eventually led the band to adopt irony as its basic means of expression for a time in the '90s.

In important ways U2 became an intentional self-parody: a difficult trip on tenuous ice that they were able to pull off for a time (Achtung Baby, parts of Zooropa) through sheer talent. All bands want to be cool, and in the '80s U2 almost single-handedly made earnestness cool, but it was hard, relentless work: earnestness as a modus operandi leaves one open to charges of self-importance, disingenuousness, or - horror of horrors for a rock band - being seen as goody-goody.

After the gritty, chunky guitars-and-idealism of the '80s, the '90s saw the diaphanous chill of electronics-and-irony, which was literally and metaphorically cool, but ultimately not what the band is about. All That You Can't Leave Behind returns to what the band IS about, and is the sonic and spiritual follow up to the '87 classic The Joshua Tree, the band's most idealistic, spiritual and melodically consistent album.

Remnants of the band's forays into electronics season the album (especially the impressionistic "New York"), but the Edge's guitar has returned to center stage, where his unique, ringing style belongs, though it never upstages the songs, every one of which is blessed with a memorable tune.

Following the chiming, ecstatic release of the opening track, "Beautiful Day," the second song, "Stuck In a Moment You Can't Get Out Of," states a seemingly modest but deeply profound, earnest and idealistic notion:

"I'm just trying to find a decent melody
A song I can sing in my own company"

They have found it, and then some. U2 is now a mature, confident band that knows it doesn't have all the answers, but isn't afraid to keep asking the right questions.

Career media professional Eric Olsen is honored to be the founder and publisher of Blogcritics.org, which, quite frankly, rules - as do his wife and four children.
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U2 - All That You Can't Leave Behind
Published: September 26, 2003
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Section: Music
Filed Under: Music: Alternative Rock, Music: Rock
Writer: Eric Olsen
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Comments

#1 — September 26, 2003 @ 19:21PM — Will

U2 was one of my favorite bands in the 80s. I've owned almost every U2 CD, including the subject of your review; however, to paraphrase Keith Richards and Elvis, they just don't move me anymore - not like they used to.

Zooropa was the last U2 CD I really dug, which might say more about me than about the band.

#2 — September 26, 2003 @ 21:40PM — Eric Olsen

I mostly lost interest after Achtung until this one, which really felt like a return to spiritual form, but I also find when I am in the mood for U2 I grab the '80-'90 collection.

#3 — September 26, 2003 @ 23:53PM — andy

I love all the albums in the 90s, Achtung Baby being my favorite of all time. But Eric, you're right. THis is a return to spiritual form. Bono has been a constant encouragement and challenge to my Christianity for years now.

#4 — September 27, 2003 @ 00:44AM — Eric Olsen

Even more than a return, it feels like pushing through to the other side of irony and post modern detachment to somewhere beyond.

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