專輯風格： Album Rock, Contemporary Pop/Rock, Alternative/Indie Rock
專輯介紹
《All That You Can’t Leave Behind(無法遺忘)》（2000）這張新專輯保留了60年代節奏藍調的曲風，在某些方面與The Beach Boys的經典名作《Pet Sounds》有幾分相似。音樂的表現更加自然、合理，重點再度轉向鼓，流暢的快感像是工業搖滾吉他節拍貫穿的Elevation。在素材取樣過程中，樂隊儘量不讓這些製作加工蓋過彈奏本身，柔緩的切分音形成的鼓樂與旋律性的節奏吉他，慢慢瀰漫著靈魂樂感覺。
這張專輯在滾石雜誌選出的500張歷代最強專輯中排名第139位。
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
