Nearly ten years after beginning U2 Mach II with their brilliant seventh album Achtung Baby, U2 ease into their third phase with 2000's All That You Can't Leave Behind. The title signifies more than it seems, since the group sifts through its past, working with Daniel Lanois and Brian Eno, all in an effort to construct a classicist U2 album. Thankfully, it's a rock record from a band that absorbed all the elastic experimentation, studio trickery, dance flirtations, and genre bending of Achtung, Zooropa, and Pop -- all they've shed is the irony. U2 choose not to delve as darkly personal as they did on Achtung or Zooropa, yet they also avoid the alienating archness of Pop, returning to the generous spirit that flowed through their best '80s records. On that level, All may be reminiscent of The Joshua Tree, but this is a clever and craftsmanlike record, filled with nifty twists in the arrangements, small sonic details, and colors. U2 take subtle risks, such as their best pure pop song ever with "Wild Honey"; they're so self-confident they effortlessly write their best anthem in years with "Beautiful Day"; they offer the gospel-influenced "Stuck in a Moment," never once lowering it to the shtick it would have been on Rattle and Hum. Like any work from craftsmen, All That You Can't Leave Behind winds up being a work of modest pleasures, where the way the verse eases into the chorus means more than the overall message, and this is truly the first U2 album where that sentiment applies -- but there is genuine pleasure in their craft, for the band and listener alike.
[U2 celebrated the 20th anniversary of their 2000 album All That You Can't Leave Behind with a lavish box set spanning either five CDs or 11 LPs. The centerpiece of the set is a remastered version of the original album, which is supplemented by the first audio release of the 2001 concert video Elevation 2011: Live from Boston (it takes up two CDs and three LPs, depending on the box), a collection of period remixes (presented as 12" singles in the LP box), and an album's worth of B-sides and demos. For the hardcore fans, the latter disc will be of the most interest, as it contains a handful of previously unreleased cuts, including the still, shimmering "Stateless," the anthemic "Levitate," bare-bones "Flower Child," and the no-frills arena-filler "Love You Like Mad." Considering how All That You Can't Leave Behind was designed as a streamlined album, playing to U2's strengths and containing none of their excesses, it should come as no surprise the weirdest moments on the box are here: the grooving disco-rock/British Invasion fusion "Big Girls Are Best," an appealingly ludicrous reggae version of Johnny Cash's "Don't Take Your Guns to Town," and "Always," a scaled-down early version of "Beautiful Day." Since so much of this material is available elsewhere, a handful of good B-sides and outtakes doesn't amount to much in terms of musical attractions, but this is a handsome box, graced with an excellent hardcover book containing unpublished photos from Anton Corbijn.]