U2 returns to familiar territory in ‘All That You Can’t Leave Behind’

Editor’s Note: In Sound Advice, the first Thursday of every month, veteran NEWS entertainment writer Dale McGarrigle reviews new rock, pop, alternative, country, folk or blues albums. Different NEWS writers contribute reviews from other musical genres.

“All That You Can’t Leave Behind” (Interscope) – U2

Where to go, what to do, when U R U2? An old industry adage has it that the third album is the killer for many bands. The “difficult third album.” Make or break time. But seasoned artists have it tough, too. After all, if you’re feeling a little artistically drained after 40 or so tunes, how do you think you’ll feel after having cranked out hundreds of the little beasts, across a dozen long-players? Pretty darned tired, I reckon.

Not that U2 sounds weary on “All That You Can’t Leave Behind.” In fact, the scent of adrenaline is often still very much in the air, most notably around the bulky single “Beautiful Day” and the sandpaper riot of “Elevation.” Yet one can’t help but feel the band has finally just decided that it really is impossible to leave it all behind. Heaven knows they’ve tried (to their credit) over the last decade, with “Zooropa” And “Pop.”

And now they’re back with an album that sounds a lot like U2. Which is great if you have a soft spot for that sort of thing – you know, The Edge’s guitars triumphantly chiming, while Bono roars to make the solar system swing its head. The truly big stuff.

And indeed, while much of “All That You Can’t Leave Behind” may be well-worn turf, it also has the cozy feel of a warm pair of boots.

For now, it seems, U2 has decided that sometimes the only place to go is home, and the only thing to do, like your mother said, is be yourself.

– By Adam Corrigan

“Blender” (Atlantic) – Collective Soul

Ed Roland and company return with another well-rounded set of ear-catching classic rock tunes, their fifth such collection in six years.

This group may not always have been critically appreciated, but their consistently strong brand of guitar-propelled rock still managed to rack up eight No. 1 hits and worldwide sales of 7 million in the ’90s. Their first album of the new millennium should only add to that streak.

This time, the Atlanta-based quintet recorded in their regular rehearsal space, leading to a relaxed feel. Area musicians would visit and ask to sit in on the sessions, including both Shawn Mullins (vocals) and Jerald Jackson of Funkadelic (clarinet) on “Vent.” But the biggest prize was getting a longtime fan, Sir Elton John, to sing and play piano on “Perfect Day.”

The band also offers their first-ever cover, an effective version of punk trio Morphine’s “You Speak My Language,” in memory of that band’s late frontman, Mark Sandman.

Will “Blender” have the radio impact of the group’s current high mark, their self-titled second album? Probably not, as radio becomes more and more fragmented. Still, “Blender” is a top-notch package that should make any Collective Soul fan happy.

“Home” (Universal) – Monifah

The title of her third release takes on a double meaning for this talented soul songstress. First, the Spanish Harlem native has returned to the East Coast from California, and her comfort at being closer to home emanates from the album.

Also, Ms. Carter has written and recorded songs that can be traced to the soul music of her youth, and she’s obviously at ease with the oeuvre. The songs of “Home” are a loving tribute to the R&B greats of the past.

She and her collaborators, including executive producer Teddy Riley and producers Screwface and Full Force, have done an admirable job putting together a complex package, as the many faces of Monifah are on display on “Home.”

Her sensual side shows up on “Rescue Me,” “Peaches & Cream” and “Nana” (a duet with Chico DeBarge). She’s looking for love on “I Can Tell,” “Fairytales” and “Brown Eyes.” She’s falling out of relationships on “Too Late” and “Hard to Say Goodbye.”

“Home” is a quiet, thoughtful triumph for Monifah, and should continue the momentum she earned with 1995’s breakthrough, “Moods … Moments,” and 1998’s “Mo’Hogany.” It’s a grown-up album in an infantile musical environment, and she should be congratulated and rewarded for that.

“Remember” (Invisible Music) – The Steve Grover Quartet featuring Brad Terry

About four bars into the first tune, you’ll break into a smile, guaranteed, and think that if Brad Terry’s clarinet gets any smoother, he’ll need that stickum wide receivers use just to hang on to it. The great alto saxophonist Paul Desmond once said the ultracool, sophisticated style he brought to the Dave Brubeck combo came from trying to emulate a dry martini – Terry’s sound is equally intoxicating, though it brings to mind something mellow, warming, aged in wood.

A few tunes into this disc and you’ll still be smiling for good. ”Remember” is another first-rate collaboration between Terry and Steve Grover, two of Maine’s most accomplished and creative musicians. Grover’s drumming is, as always, strong and tasteful; the nine compositions here, all Grover originals, are inventive, catchy, full of subtle surprise.

Best of bunch is “Noble Accents,” taken from Grover’s 1997 “Blackbird Suite,” a wonderful beat-poetry setting of Wallace Stevens’ ”Thirteen Ways of Looking at a Blackbird.” It’s a tricky, blues-tinged tune; the performance here is a treat, highlighted by some intriguing counterpoint between Terry and pianist Frank Carlberg, some sly background work by Grover and a nice solo by bassist Chris Van Voorst Van Beest.

”Remember” is a nice effort – a minor quibble would be that it’s almost too nice. It cooks, but it never quite bursts into flame; a couple of times a tune seems on the verge of exploding but then subsides. Still, it’s a disc you’ll be glad to have on hand, just right for those times when something mellow and warming is called for. (By Bruce Kyle)