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U2: All That You Can't Leave Behind

 A l b u m   D e t a i l s


Label: Island Records
Released: 2000
Time:
 49:19
Category: Pop/Rock
Producer(s): Brian Eno, Daniel Lanois
Rating: *******... (7/10)
Media type: CD
Web address: www.u2.com
Appears with:
Purchase date: 2000.10.30
Price in €: 13,99



 S o n g s ,   T r a c k s


[1] Beautiful Day (U2/Bono) - 4:08
[2] Stuck in a Moment You Can't Get Out Of (U2/Bono, The Edge) - 4:32
[3] Elevation (U2/Bono) - 3:47
[4] Walk On (U2/Bono) - 4:56
[5] Kite (U2/Bono, The Edge) - 4:26
[6] In a Little While (U2/Bono) - 3:39
[7] Wild Honey (U2/Bono) - 3:46
[8] Peace on Earth (U2/Bono) - 4:48
[9] When I Look at the World (U2/Bono, The Edge) - 4:17
[10] New York (U2/Bono) - 5:30
[11] Grace (U2/Bono) - 5:30

Hidden Track:
[12] The Ground Beneath Her Feet (U2/Salman Rushdie) - 3:43

 A r t i s t s ,   P e r s o n n e l


THE EDGE - Guitar, Piano, Vocals, Synthesizer, Organ
PAUL "Bono Vox" HEWSON - Vocals, Guitars, Synthesizer
ADAM CLAYTON - Bass Guitar
LARRY MULLEN Jr. - Drums, Percussion

BRIAN ENO - Synthesizer, Synthesizer Programming, Vocals, Mixing
DANIEL LANOIS - Voclas, Add. Guitar, Mixing
PAUL BARRETT - Brass
CRAIG ARMSTRONG - Strings
LEO PEARSON - Programming
DANNY SABER - Programming

RICHARD RAINEY - Engineer
CHRIS HEANEY - Ass. Engineer
STEVE LILLYWHITE - Add. Production, Mixing
TIM PALMER - Mixing, Add. Engineering
STEPHEN HARRIS - Add. Engineering
JAY GOIN - Ass. Mixing
ALVIN SWEENEY - Ass. Mixing
RICHARD STANNARD - Mixing, Add. Production
JULIAN GALANGHER - Mixing, Add. Production
STEVE FITZMAURICE - Mixing
MIKE HEDGES - Mixing, Add. Production
GER MCDONELL - Mixing
KEITH MCDONELL - Ass. Mixing
ALEX HAAS - Engineer
MARK HOWARD - Add. Engineer
ARNIE ACOSTA - Mastering
SHAUGHN MCGRATH - Sleeve Design
AARON CORBIJN - Photography

 C o m m e n t s ,   N o t e s


2000 CD Polygram 524653



Seldom has an album title been as appropriate as ALL THAT YOU CAN'T LEAVE BEHIND. Here, U2 returns to its pre-irony '80s glory days with a straightforward rock approach, leaving behind the electronics and intentional mock-decadence of POP and ZOOROPA. It quickly becomes clear however, that the band had to make those albums in order to get to the ego-free state from which this one emerges. While Larry Mullen's driving beat, Adam Clayton's insistently throbbing bass, the Edge's chiming guitar, and Bono's soulful vocals mesh as in the days of yore, there's a less messianic feel to the proceedings that must have resulted from the group's ego-deflating '90s endeavors. While POP and ZOOROPA were the sound of four guys having fun, on this album U2 manages to combine unpretentious joy with the open-hearted rock power of its early recordings. From the spiritual warmth of "Grace" to the soul leanings of "In a Little While," the band regains the organic quality that had been missing from its music of the previous decade. What sounds like an unusually hands-off approach on the part of producers Brian Eno and Daniel Lanois can only mean that they were smart enough not to fix what was clearly not broken.

© 2000 Muze/MTS Inc.



If U2 hadn't used the title already, "A Sort of Homecoming" might have suited this, their 10th studio album. All That You Can't Leave Behind sounds, at various points, like any or all of U2's previous albums, as if the band is sending postcards back from a protracted ramble through previously conquered territories. The euphoric opening track, "Beautiful Day," reintroduces Edge's signature delay-laden guitar, which has been pretty much absent since The Unforgettable Fire. Elsewhere, the gospel stylings of Rattle and Hum resurface on "Stuck in a Moment," and the deranged, Prodigy-influenced dance textures that characterized 1997's Pop crop up on "Elevation." None of which suggest that this commendably restless bunch is running out of ideas. Having spent the '90s making three of the most bizarre and adventurous albums ever delivered by a stadium-rock band (the consecutive masterpieces Achtung Baby, Zooropa, and Pop), it's as if they're now trying to figure out what is the one particular thing they've always done best. Based on the evidence presented here, their forte remains a facility for making the epic statement alongside Bono's increasing lyrical intimacy: "Walk On" and "Peace on Earth" are two of the best things he's ever written or sung. All That You Can't Leave Behind confirms that U2's laurels are still making them itch.

Andrew Mueller, Amazon.com



Nearly ten years after beginning U2 Mach II with their brilliant seventh album Achtung Baby, U2 eases into their third phase with 2000's All That You Can't Leave Behind. The title winds up signifying more than it seems, since on this tenth album, the group sifts through the best elements of its '80s and '90s personas, finding everything they can't leave behind, all in an effort to construct a classicist U2 album. To this end, they returned to the studio with Daniel Lanois and Brian Eno, the production team behind their finest albums, intent on delivering a rock record that would stand in direct contrast to the dance leanings of Pop. Thankfully, they decided to subscribe to a loose definition of "rock," never once returning to the strident anthemic rock that was their calling card throughout the '80s. All That You Can't Leave Behind is 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 also chooses not to delve as darkly personal as they did on Achtung or Zooropa, yet they also avoid the alienating archness of Pop, choosing to return 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 far more clever and craftsmanlike record, filled with nifty twists in the arrangements, small sonic details and colors. This a bright, inviting record, not just because of the deft, luxurious production, but because it has the ease and confidence of veteran musicians. U2 is willing to take subtle risks, such as turning out their best pure pop song ever with "Wild Honey"; they're so self-confident, they effortlessly turn out their best anthem in years with "Beautiful Day"; and they return to gospel-influenced territory with "Stuck in a Moment," never once lowering it to the schtick it would have been on Rattle & Hum. When something doesn't work, such as the meditative "Peace on Earth," it's because it's overly cautious and deliberate - the record works best when the craft is so strong, U2, Lanois, and Eno make all their work sound natural. 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. Throughout the '80s and '90s, the music was the vehicle for sweeping messages, both personal and political. Here, as U2 begins their third decade of recording, they wind up unveiling a third stage, where the message may still be there, but the real pleasure winds up being hearing how the group writes, plays, and assembles records. To a certain extent, that was true of their '90s albums, but on each of those, they were restless, always pushing boundaries. They're not pushing on All That You Can't Leave Behind - they've settled. That does mean that this is their first album ever to not announce itself as a major event, but there's a certain grace to that, since it shows U2 easing into their stature as superstar veterans. In doing so, they may not have made one of their significant works, but they've made an album that's not only satisfying, but sharper than most records released by rock bands celebrating their 20th anniversary.

Stephen Thomas Erlewine, All-Music Guide



Hätte U2 den Titel "A Sort Of Homecoming" nicht schon einmal verwendet, so hätte er bei diesem zehnten Studioalbum genau gepasst. All That You Can't Leave Behind klingt immer wieder so wie eines oder wie alle vorhergehenden Alben von U2, so als ob die Band Ansichtskarten von einem langen Streifzug durch früher eroberte Gebiete nach Hause schickt. Die erste euphorische Single, der Eröffnungstrack "Beautiful Day", stellt Edges typische ausgedehnte Gitarrensoli wieder in den Mittelpunkt, die man seit The Unforgettable Fire so sehr vermisste. Sonst kommen die Gospelelemente von Rattle & Hum bei "Stuck In A Moment" wieder zum Vorschein, und die irren, von Prodigy beeinflussten tänzerischen Elemente, die bereits bei ihrem letzten Album Pop so typisch waren, sprießen bei "Elevation" wieder hervor.

Aber all dies sollte auf keinen Fall den Eindruck erwecken, dass dieser immer wieder so erfreulich ruhelosen Gruppe nun die Ideen ausgehen. Im Laufe der 90er Jahre haben sie drei der ausgefallensten und innovativsten Alben geliefert, die jemals von einer Stadion-Rockband herausgebracht wurde (die aufeinander folgenden Meisterwerke Achtung Baby, Zooropa und Pop), und jetzt sieht es so aus, als ob sie versuchten herauszufinden, ob sie irgendetwas immer schon ganz besonders gut konnten. Zu den hier präsentierten Beweismitteln gehört diese Kombination von U2s Fähigkeit, episch angelegte Stücke zu spielen und von Bonos stärker gewordenem Interesse an Intimität bei seinen Texten: "Walk On" und "Peace On Earth" sind zwei der besten Stücke, die er jemals geschrieben oder gesungen hat. All That You Can't Leave Behind beweist, dass die Band sich nicht auf ihren Lorbeeren ausruht.

Andrew Mueller, Amazon.de



The unadulterated explosion of positive sentiment and classic Edge guitar that ushers in the chorus of "Beautiful Day," the opening track of the highly anticipated All That You Can't Leave Behind, lays out the album's territory rather clearly. Forget Zooropa and the discotheque -- you are now entering an irony-free zone, where you, too, can get back in touch with the "real" U2. After spending the '90s in the throes of reinvention, the Irish quartet returns to the task of spiritually uplifting the masses with "three chords and the truth," and ends up making a soulful rock record that could easily be mistaken for a 21st-century Joshua Tree follow-up. Moving between aggrandizing power-chords (the majestic come-on, "Elevation") and the slide-guitar-generated Euro-blues wistfulness he's perfected (best served on the searching "Kite"), the Edge drifts back to the other side of the Eno-and-Lanois mixing board to reassert himself as one of the most influential rock figures of the past 20 years. And having shed the veils that shadowed his Achtung/Pop message, Bono clears his throat and abandons the bully pulpit, with only a single examination of confusion (the deadening, near-brilliant "New York") muddying his invocation to try a little tenderness.

Peter Orlov, CMJ Archive



U2 Hope to Reawaken America
The Edge says U2 are happy to strip down

America is undergoing its second outbreak of U2 fatigue. Back in 1987, the Irish quartet could do no wrong on these shores. The blues/gospel/roots inspired album The Joshua Tree, U2's undisputed critical and commercial masterpiece (10 million copies sold on these shores), cemented Bono, The Edge, Adam Clayton and Larry Mullen Jr. in American rock & roll lore. But they soon overstayed their welcome. The film Rattle and Hum and its accompanying soundtrack saw the biggest band in the world getting a bit too big for its britches by, among other things, preaching to us about "NicaraGUA" and trying to steal "Helter Skelter" "back" for the Beatles.
Then, in 1991, faster than we could say "am I buggin' ya," the lads reinvented themselves. The boys traded their hearts on their sleeves for leather pants and Superfly sunglasses, and released the sleek, electronica-seasoned pop sensation Achtung Baby. The world's most earnest band had morphed into glitzy rock stars -- and we loved them for it.

They played the dance card again in 1993 on Zooropa, and then took it to its logical conclusion on 1997's Pop. But the electronic-fueled sound and the swarmy image had worn thin; along with 1980's Boy and 1981's October, Pop is the band's poorest-selling album in the U.S. (one million copies to date). To make matters worse, the band supported the album with the elaborate Pop Mart tour, which mocked American consumerism -- sometimes to less-than-capacity stadiums.

The appropriately titled All That You Can't Leave Behind, which hits our marts on Tuesday, is U2's redemption. The eleven-song collection finds the band returning to past glory simply by being a band. Propelled by Edge's guitar -- something that has been obscured on recent albums -- the album turns up the intensity and turns down the effects. And, as far as Edge is concerned, it's about time.


All That You Can't Leave Behind is something of a return to basics. What inspired the change?

It felt like time had come around again for us to turn our attention back to what we do as a band that is unique. We're always trying to abstract the sound of the band in one way or another, whether it's with the influence of techno and dance music, or hip-hop, or ambient music, or whatever. In this instance, we just kept being drawn back to a really stripped-down sound and feel. I think the vitality of it is what we liked -- the sense of life, the sense of the four individual personalities working together. It was exciting to hear.

Did you have to consciously stop yourselves from tinkering with the songs too much?

I suppose at times certain songs had to be drawn back from being too produced or too overly complicated. The studio sessions were really about us playing a lot in a very small room and perfecting the performance and the arrangement more than to try to generate unusual starting points and unusual soundscapes to build songs off of. There are unusual production techniques involved, but it's always built on a very solid base of a great song played by a great band, I hope.

Was it refreshing to go back to this approach?

In some ways there was more pressure, because there was nowhere to hide. This was all about, "What's the best song you can write? The best guitar part you can come up with? Is this the best performance?" All the pressure was on us up front. The end of the record was so much fun, because all the work was done. We weren't trying to create it in the mix. If you're relying on more experimental studio techniques, often the whole basis of the idea is the use of the recording process itself; you're not really necessarily working with a fantastic tune. In this case we made sure that nothing went on the record that didn't stand up on that basis. And so in the early period we were under a lot of pressure -- our own pressure to deliver something that we were really proud of. But I think of all the records this one got finished with the least sense of panic, which is normal for us at the end of a record.

"Beautiful Day" is less hype-y than your recent leadoff singles. It's really cut from the fabric of the album ...

Yeah, like it or not, the first single is often used as a way of judging the whole record, or certainly people view it as like an introduction or explanation for where the album's going. For us, it's often an impossible task to find one song that can do that effectively. I feel "Beautiful Day" is a song that has been able to do that for this record. Maybe the last two records we just didn't have a song like that.

Talk about the evolution of "Beautiful Day."

That started out as a real kind of punk rock tune we were working on called "Always" [which wound up as a B-side on the "Beautiful Day" single]. We had a song we were kind of excited about but it wasn't quite what we wanted, and Bono came up with this "beautiful day" lyric. The key to that was the backing vocals idea Danny [producer Daniel Lanois] and myself came up with, and it just took the chorus into this other place. Some of the tunes on the record just came in one go, but "Beautiful Day" was written in stages.

What song are you particularly proud of?

Well, it changes for me. Right now, "Kite" is one that I'm really proud of. It's a slow song, which means it probably won't be a single. I think it's the four of us at our best: Bono, singing his heart out, incredible melody, great lyrics, and I think the band sounds great.

You are at your second major crossroads popularity-wise. After Rattle and Hum, America cooled on U2 a bit, but then you won us back with Achtung Baby. Can you do it again?

I don't know. We're making a big effort to promote this record because we really do believe in it. But in the end, whether America is interested in this particular album or not remains to be seen. I think the atmosphere in Europe is quite different. The governing factor in how your music goes over seems to be what else is happening. In America right now the hip-hop thing is huge still, the synthesis of metal and hip-hop is huge, but the pop is a surprise -- it's so huge. Rock & roll has always been a sort of counterbalance to pop. It's music that acknowledges that everything is not alright, that there's a lot of cause to be dissatisfied with where things are at generally. Whereas pop is like, "Everything's fine. Everything's cool." Pop has had so much of the running for so many years, but it's time maybe for rock & roll to come back, and people might really be interested in what we're doing. So the timing of this record might be very good. In England our single went in at No. 1 the first week, which really surprised everybody, especially since the competition for the No. 1 slot was Robbie Williams and Kylie Minogue doing a duet, which everyone had assumed would be the runaway top single of the week.

After Rattle and Hum, U2 were criticized for being hyper-serious. Now, ironically enough, you might be viewed as not serious enough. Did the band's glitzier image and the circus-like atmosphere of Pop Mart ever undermine the songs?

Yeah, I know what you're getting at, and at times it was a difficult thing to get beyond that surface level. I don't think that we've written songs that have been trivial or throwaway, but what we have done is used humor and irony to disguise the more weighty themes of the songs. And sometimes I think people didn't get past that. They thought the irony and the humor was all there was. I think it comes down to you can only be famous for one thing at one time. So, this record is a more straightforward album. It is what it is. The songs are what they are. I think you get the same sense of what we're up to no matter what way you look at it. It's straight from the hip, so I don't think there's that same potential for misunderstanding that there might have been on the last album or so.

When will we hear you contribute some more lead vocals?

Well [laughs], we have a really good singer in the band. I love singing but I don't want to be singing a tune that Bono could be singing better. So it really comes down to something I can put over with what I have better than he can, and that's not very often I guess [laughs]. Occasionally something comes up and it's just obvious that I should sing it. I think that might happen again.

As much as we've been calling this a "rock & roll" album, there are some particularly playful songs, like "Stuck in a Moment" and "Wild Honey."

We allowed ourselves to write and record some songs that were just wonderful, melodic pieces on this record, and I would say that "Wild Honey" would be the best example of that. It's got a certain kind of joy, and easy quality, which is attractive, and I suppose that's why we went with it for the record -- particularly when we have such intense, dramatic songs like "Peace on Earth" and "When I Look at the World," which are quite tough. So if you're gonna have that kind of harshness and bitterness it's nice to be able to balance it with something that is quite easy and melodic. "Wild Honey" is that. "Stuck in a Moment" is quite a personal lyric about some people that we got to know who ended up becoming complete victims and losing their sight of what life is all about, and going completely under. So it's kind of a heavy theme, quite a heavy song. I suppose when we're working we're often looking for contrasts within the material: lyrics that have an intensity to them that go with music that is joyful, or music that's intense that has a lyric that's joyful. I think a mixture of feelings is one of the hallmarks of what we do.

I understand there's another version of that song with Mick Jagger and his daughter singing backup.

Yeah, they came down to the studio one day, and of course we had to ask them to sing together. We did a rough mix of the song with their vocals, but the song kind of took a different direction, and it didn't seem appropriate.

Was it a difficult decision to leave Mick on the cutting room floor?

No, to be honest, I don't think he expected it to go on the record. I think it would have been wrong of us to put him on the record, because of the spirit in which he sang was not that kind of a thing. It was more of a laugh.

Radiohead seems to be following your career path a bit. They've just released a record that is being touted as "anti-rock," and Thom Yorke has said he is bored of the rock thing. What is your advice for them?

Well, my advice to them is, "Just do exactly what you're doing." Because I really love Kid A. I think there is some real integrity there. As a band you have to follow your own instincts first, and then hope you're right, and that people are interested enough to follow you where you feel like you should go.

How long do you see U2 continuing?

As long as the band is still as hungry as we are and as long as the music is still with us, we will continue. If people lost interest, or lost heart, or just decided that this wasn't really what they wanted to do, that would be it. I don't think we would keep going as a way of getting out of the house or earning a few quid [laughs].

Any desire to make a solo album?

Not serious. Who knows. I wouldn't say never, but right now I am more excited about being in U2 than trying to develop a solo career.

BILL CRANDALL, RollingStones.com
(October 28, 2000)
 

 L y r i c s


Beautiful Day

The heart is a bloom, shoots up through the stony ground
But there's no room, no space to rent in this town
You're out of luck, and the reason that you had to care
The traffic is stuck, and you're not moving anywhere
You thought you'd found a friend, to take you out of this place
Someone you could lend a hand in return for grace

It's a beautiful day
The sky falls and you feel like
It's a beautiful day
Don't let it get away

You're on the road, but you've got no destination
You're in the mud, in the maze of her imagination
You love this town, even if that doesn't ring true
You've been all over, and it's been all over you

It's a beautiful day
Don't let it get away
It's a beautiful day

Touch me
Take me to that other place
Teach me
I know I'm not a hopeless case

See the world in green and blue
See China right in front of you
See the canyons broken by cloud
See the tuna fleets clearing the sea out
See the Bedouin fires at night
See the oil fields at first light, and
See the bird with a leaf in her mouth
After the flood all the colors came out

(Day)
It was a beautiful day
Don't let it get away
Beautiful day

Touch me
Take me to that other place
Reach me
I know I'm not a hopeless case

What you don't have, you don't need it now
What you don't know, you can feel it somehow
What you don't have, you don't need it now
Don't need it now

It was a beautiful day


Stuck In a Moment You Can't Get Out Of

I'm 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

I never thought you were a fool
But darling, look at you
You gotta stand up straight, carry your own weight
These tears are going nowhere, baby

You've got to get yourself together
You've got stuck in a moment and now you can't get out of it
Don't say that later will be better now you're stuck in a moment
And you can't get out of it

I will not forsake, the colors that you bring
But the nights you filled with fireworks
They left you with nothing
I am still enchanted by the light you brought to me
I listen through your ears, and through your eyes I can see

And you are such a fool
To worry like you do
I know it's tough, and you can never get enough
Of what you don't really need now ... my oh my

You've got to get yourself together
You've got stuck in a moment and you can't get out of it
Oh love look at you now
You've got yourself stuck in a moment and you can't get out of it

I was unconscious, half asleep
The water is warm till you discover how deep
I wasn't jumping for me it was a fall
It's a long way down to nothing at all

You've got to get yourself together
You've got stuck in a moment and you can't get out of it
Don't say that later will be better now
You're stuck in a moment and you can't get out of it

And if the night runs over
And if the day won't last
And if our way should falter
Along the stony pass

And if the night runs over
And if the day won't last
And if your way should falter
Along the stony pass
It's just a moment
This time will pass


Elevation

High, higher than the sun
You shoot me from a gun
I need you to elevate me here
At the corner of your lips
As the orbit of your hips
Eclipse, you elevate my soul

I've got no self-control
Been living like a mole
Now going down, excavation
I and I in the sky
You make me feel like I can fly
So high, elevation

A star lit up like a cigar
Strung out like a guitar
Maybe you could educate my mind
Explain all these controls
I can't sing but I've got soul
The goal is elevation

A mole, living in a hole
Digging up my soul now
Going down, excavation
I and I in the sky
You make me feel like I can fly
So high, elevation

Love, lift me up out of these blues
Won't you tell me something true
I believe in you

A mole, digging in a hole
Digging up my soul
Going down, excavation
I and I in the sky
You make me feel like I can fly
So high, elevation

Elevation
Elevation
Elevation
Elevation
Elevation
Elevation


Walk On

And love is not the easy thing
The only baggage that you can bring
Love is not the easy thing
The only baggage you can bring
Is all that you can't leave behind

And if the darkness is to keep us apart
And if the daylight feels like it's a long way off
And if your glass heart should crack
And for a second you turn back
Oh no, be strong

Oh, Oh
Walk on
Walk on
What you got, they can't steal it
No, they can't even feel it
Walk on
Walk on
Stay safe tonight

You're packing a suitcase for a place none of us has been
A place that has to be believed to be seen
You could have flown away a singing bird in an open cage
Who will only fly, only fly, for freedom

Oh Oh
Walk on
Walk on
What you got, you can't deny it
Can't sell it, or buy it
Walk on
Walk on
You stay safe tonight

And I know it aches
How your heart, it breaks
You can only take so much

Walk on
Walk on

Home, hard to know what it is
If you've never had one
Home, I can't say where it is
But I know I'm going home
That's where the hurt is

And I know it aches
And your heart, it breaks
And you can only take so much

Walk on

Leave it behind
You've got to leave it behind

All that you fashion
All that you make
All that you build
All that you break
All that you measure
All that you feel
All this you can leave behind

All that you reason - it's only time (?)
All that I'm feeling on my mind (??)
All that you sense,
All that you scheme,
All you dress-up,
And all that you see,
All you create,
All that you wreck,
All that you hate


Kite

Something is about to give
I can feel it coming
I think I know what it is
I'm not afraid to die
I'm not afraid to live
And when I'm flat on my back
I hope to feel like I did

And hardness, it sets in
You need some protection
The thinner the skin

I want you to know
That you don't need me anymore
I want you to know
You don't need anyone, anything at all

Who's to say where the wind will take you
Who's to say what it is will break you
I don't know which way the wind will blow
Who's to know when the time has come around
Don't wanna see you cry
I know that this is not goodbye

In summer I can taste the salt in the sea
There's a kite blowing out of control on a breeze
I wonder what's gonna happen to you
You wonder what has happened to me

I'm a man, I'm not a child
A man who sees
The shadow behind your eyes

Who's to say where the wind will take you
Who's to say what it is will break you
I don't know where the wind will blow
Who's to know when the time has come around
I don't wanna see you cry
I know that this is not goodbye

Did I waste it?
Not so much I couldn't taste it
Life should be fragrant
Roof top to the basement
The last of the rock stars
When hip hop drove the big cars
In the time when new media
Was the big idea
That was the big idea


In A Little While

In a little while
Surely you'll be mine
In a little while I'll be there
In a little while this hurt will hurt no more
I'll be home love

When the night takes a deep breath
And the daylight has no end
If I crawl, if I come crawling home
Will you be there?

In a little while I won't be blown by every breeze
Friday night running to Sunday on my knees
That girl, that girl, she's mine
Well I've known her since, since she was
A little a girl with Spanish eyes
When I saw her first in a pram they pushed her by
Oh my, my how you've grown
Well it's been, it's been a little while

Slow down my beating heart
A man dreams one day to fly
A man takes a rocket ship into the skies
He lives on a star that's dying in the night
And follows in the trail the scatter of light
Turn it on, turn it on, you turn me on

Slow down my beating heart
Slowly, slowly love


Wild Honey

In the days when we were swinging from the trees
I was a monkey stealing honey from a swarm of bees
I could taste, I could taste you even then
And I would chase you down the wind

You could go there if you please
Wild honey
And if you go there, go with me
Wild honey

Did I know you?
Did I know you even then?
Before the clocks kept time
Before the world was made

From the cruel sun
You were shelter
You were my shelter and my shade

If you go there with me
Wild honey
You can do just what you please
Wild honey
Yeah, just blowing in the breeze
Wild honey
Wild, wild, wild

I'm still standing, I'm still standing
Where you left me
Are you still growing wild
With everything tame around you?

I send you flowers, cut flowers for your hall
I know your garden is full, but is there sweetness at all?

(Bono wails something - ?)

If you go there with me
Wild honey
Won't you take me, take me please
Wild honey
Yeah, swinging through the trees
Wild honey
Wild, wild, wild


Peace On Earth

Heaven on Earth, we need it now
I'm sick of all of this hanging around
Sick of sorrow, sick of the pain
I'm sick of hearing again and again
That there's gonna be peace on Earth

Where I grew up there weren't many trees
Where there was we'd tear them down
And use them on our enemies
They say that what you mock
Will surely overtake you
And you become a monster
So the monster will not break you

And it's already gone too far
Who said that if you go in hard
You won't get hurt?

Jesus can you take the time
To throw a drowning man a line
Peace on Earth
Tell the ones who hear no sound
Whose sons are living in the ground
Peace on Earth
No whos or whys
No one cries like a mother cries
For peace on Earth
She never got to say goodbye
To see the color in his eyes
Now he's in the dirt
Peace on Earth

They're reading names out over the radio
All the folks the rest of us won't get to know
Sean and Julia, Gareth and Ann and Breda
Their lives are bigger than any big idea

Jesus can you take the time
To throw a drowning man a line
Peace on Earth
To tell the ones who hear no sound
Whose sons are living in the ground
Peace on Earth
Jesus sing a song you wrote
The words are sticking in my throat
Peace on Earth
Hear it every Christmas time
But hope and history won't rhyme
So what's it worth
This peace on Earth

Peace on Earth
Peace on Earth
Peace on Earth


When I Look At the World

When you look at the world
What is it that you see?
People find all kinds of things
That bring them to their knees
I see an expression
So clear and so true
That it changes the atmosphere
When you walk into the room

So I try to be like you
Try to feel it like you do
But without you it's no use
I can't see what you see
When I look at the world

When the night is someone else's
And you're trying to get some sleep
When your thoughts are too expensive
To ever want to keep
When there's all kinds of chaos
And everyone is walking lame
You don't even blink now, do you
Or even look away

So I try to be like you
Try to feel it like you do
But without you it's no use
I can't see what you see
When I look at the world

I can't wait any longer
I can't wait till I'm stronger
Can't wait any longer
To see what you see
When I look at the world

I'm in the waiting room
Can't see for the smoke
I think of you and your holy book
While the rest of us choke

Tell me, tell me, what do you see?
Tell me, tell me, what's wrong with me


New York

In New York freedom looks like too many choices
In New York I found a friend to drown out the other voices
Voices on a cell phone
Voices from home
Voices through the hard sell
Voices down a stairwell
In New York
Just got a place in New York

In New York summers get hot, well into the hundreds
You can't walk around the block without a change of clothing
Hot as a hairdryer in your face
Hot as a handbag and a can of mace
New York
I just got a place in New York
New York
New York

In New York you can forget, forget how to sit still
Tell yourself you will stay in, but it's down to Alphaville

New York, New York, New York
New York, New York, New York

The Irish have been coming here for years
Feel like they own the place
They got the airport, city hall, concrete, asphalt, they even got the police
Irish, Italians, Jews and Hispanics, religious nuts, political fanatics in the stew
Living happily not like me and you
That's where I lost you
New York

New York, New York, New York
New York, New York, New York
New York

In New York I lost it all to you and your vices
Still I'm staying on to figure out my midlife crisis
I hit an iceberg in my life but you know I'm still afloat
You lose your balance, lose your wife in the queue for the lifeboat
You gotta put the women and children first
But you've got an unquenchable thirst for New York

New York, New York
New York, New York

In the stillness of the evening, when the sun has had its day
I heard your voice whispering, come away now
New York

New, New York, New York


Grace

Grace, she takes the blame
She covers the shame
Removes the stain
It could be her name

Grace, it's a name for a girl
It's also a thought that could change the world
And when she walks on the street
You can hear the strings
Grace finds goodness in everything

Grace, she's got the walk
Not on a ramp or on chalk
She's got the time to talk
She travels outside of karma, karma
She travels outside of karma
When she goes to work you can hear the strings
Grace finds beauty in everything

Grace, she carries a world on her hips
No champagne flute for her lips
No twirls or skips between her fingertips
She carries a pearl in perfect condition

What once was hurt, what once was friction
What left a mark, no longer stings
Because Grace makes beauty out of ugly things
Grace finds beauty in everything
Grace finds goodness in everything

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