U2: All That You Can't Leave Behind - Disc 2 of 2 CD Track Listing
U2
All That You Can't Leave Behind - Disc 2 of 2 (2000)
All That You Can't Leave Behind - Disc 2 of 2\n2000 Interscope International Music\n\nOriginally Released October 31, 2000 \n\nAMG EXPERT REVIEW: 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. -- Stephen Thomas Erlewine\n\nAmazon.com's Best of 2000\nThe foursome come roaring out of the blocks with their latest collection. The album's first single, "Beautiful Day," raced to the No. 1 slot on the U.K. singles charts and received a similar rapturous reception stateside. From its shimmering preamble to its sweeping, infectious chorus, it perfectly stakes out the middle ground between the anthemic U2 of the '80s and the more grounded group of the '90s. With Daniel Lanois and Brian Eno sharing production chores again after having taken a break with Pop, the U2 team enters the new millennium with their lineup--and mission--intact. --Steven Stolder \n\nAmazon.com essential recording\nIf 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 \n\nAMAZON.COM CUSTOMER REVIEW\nCherubs' eyes, October 18, 2000\nReviewer: J. Wimmer (New York City)\nOh, my AP English class has finally paid off, because now I understand why U2 has gone from "brilliant" to "more brilliant" to "more brilliant still." I'm talking about William Blake, the 18th-century poet who authored the "Songs of Innocence and Experience." Don't click away--even if you know nothing about poetry, if you know something about U2, you'll appreciate this...\n\nThe theme of the "Songs" is this: We enter the world with a pure, unaffected point of view. As such, we perceive it with unadulterated clarity, but we lack the understanding to appreciate what we see.\n\nWith experience comes this understanding, but at what price? We lose the clarity of perception we were born with.\n\nAs understanding increases, though, we realize this. And then we become whole. Only through innocence can we become experienced. Only through experience can we appreciate innocence.\n\nNow, who's that sound like? An Irish rock group, maybe, who started out waving a white flag, proclaiming, "I Will Follow"? Who saw the world in black and white and knew exactly which side they were on?\n\nThe same group saved themselves by diving headfirst into the black, as it were. With the Zoo TV experience, they immersed themselves in the sensual and the secular. In fact, they did that so thoroughly that to this day, older, more simpleminded fans resent them for it.\n\nThe simpletons can rejoice, and so can us Achtung Babies who understand what U2 did and why they had to do it, and love them for it. It started on "Pop," and it's happened on "All That You Can't Leave Behind": U2 have come full circle, become whole. They are innocent again. They understand the world around them, and now they know why this is black, why that's white, and why there's so much gray.\n\nThe band who created "All..." aren't afraid to wear their collective heart on their collective sleeve again. They aren't afraid to ask for "Peace on Earth." They can write the sweetest, most lovingest love song they've ever written now--"Wild Honey"--because they know now that beyond the darkness love is certainly waiting.\n\nThey've made their phone calls from Hell, and they are more aware than ever that, while the dark places won't go away, the world is still a true, beautiful place. They're seeing with cherubs' eyes now--the eyes of wise children.\n\nThey said they wanted to make an album about joy, and that it wouldn't be easy. They've more than risen to the challenge.\n\nBuy this album. Buy it now. Click now. It will make your problems go away, at least for a little while. It will make your soul soar. It will make you sing.\n\nAMAZON.COM CUSTOMER REVIEW\nAn excellent addition to a great body of work, November 6, 2000\nReviewer: Paul M. Gunther (Los Angeles, CA USA)\nThere are U2 listeners under the mistaken impression that U2 is The Joshua Tree, and that everything after that was untrue to their image. Then there are those that realize that The Joshua Tree was just one of the many images the band has employed throughout their career, and was never meant to be permanent. They have continually evolved their sound through the years. To listeners of Boy and October, the U2 of The Joshua Tree was commercial and a divergence from their true self. To listeners of The Joshua Tree, the U2 of Pop was commercial and divergent from their true self. Then there are those that realize that the songs are always the same: it's how the band plays them that changes.\nHow does U2 play those songs on All That You Can't Leave Behind? Very well.\n\n"Beautiful Day": When you lose everything, you can still stop, look around, and realize, Yeah, I'm broke and destitute, but isn't it beautiful out today? The first single, though that honor likely should have gone to "Elevation", which will likely find greater chart success.\n\n"Stuck In a Moment You Can't Get Out Of": A Motown-flavored ballad. A song about suicide; or, rather, suicide prevention. About realizing that wherever you are at right now, you won't be there forever. Every moment ends. This feeling you're feeling now won't always be there. Also a likely single, because the lyrics are dichotomous enough that it sounds like a straightforward love song. Should find the same audience that doesn't realize that "Every Breath You Take" is about stalking.\n\n"Elevation": A sort of "Even Better Than the Real Thing," in that "Take me higher" could have been lifted from that song and dropped in here without missing a beat. Following the pattern set by the previous two songs on the album, it's about finding inspiration and learning to leap up out of the blues. A great rocker, with some of the dance rhythms the band experimented with on Pop held over for subtle use here. Would make a great show opener. Favorite lyric: "At the corner of your lips / As the orbit of your hips / Eclipse / You elevate my soul"\n\n"Kite": Probably my favorite song on the album. Flying away, floating on a leisurely breeze like a kite in the wind, is the metaphor. Just go with the wind. You can't control it, so just learn to enjoy it. \n\n"In a Little While": An unusual little number for the band, with a great guitar lick by Edge kicking off a sweet song about missing someone; about being able to stop and enjoy missing someone.\n\n"Wild Honey": U2 idealizes The White Album, the album that gave us "Honey Pie" and "Wild Honey Pie". Now, U2 gives us the completely unrelated "Wild Honey". One of the few straightforward songs on the album. After Jimmy Buffet wrote a song about the misadventure he shared with Bono in Jamaica, it seems only fitting that the boys write something with Jimmy's flavor.\n\n"Peace on Earth": Another straightforward song. With a title like this, it's hard to mistake what it's about, but it does contain some of the most meaningful lyrics Bono's ever written. A reminder to those who make the mistake that U2 left behind their care for the world with Zooropa and Pop. It's always been there; they just stopped beating people over the head about it.\n\n"New York": After doing Miami last time and New York this time, I guess the only thing left is Los Angeles. Denver, maybe? Poughkeepsie?\n\nThough more mellow than most of their albums, there is a lot here to listen to. One of the best albums the band has produced in their career, and certainly one of the best albums of the year.\n\nAMAZON.COM CUSTOMER REVIEW\nU2 Reconnects with Essential Cargo: Passion, September 7, 2006\nReviewer: JP (Boise, ID)\n'All That You Can't Leave Behind' is a thrilling comeback for U2. They are still high-tech, but they reinvent their sound more modestly in a manner that brings back the passion of earlier classics. The quality of the lyrics and the variety of musical endeavors, make this album a classic. \n\nLifting themselves and their listeners up from the despair and high-tech experimentation of 'Pop' and 'Zooropa,' U2 connect with some loving inspiration that is both divine and human. "A Beautiful Day" kicks off the C.D. with a propelling song that celebrates the beauty of nature and life. It is the perfect wake-up song. Then, they embrace the every day loser with the heartwarming "Stuck in a Moment". Much of the rest of the album showcases the vitality of romantic and spiritual love. "Elevation" could celebrate Lord or lover, much like George Harrison did. Similarly, "Grace," which ends the album, is equally ambiguous. (Do they mean personification like Dante did with Beatrice in 'The Purgatorio' or is it more New Age?) "Walk On" intricately and expertly caresses the listener out of despair and into a new day. (It is no surprise that soon after its release, it became a healing song in the aftermath of 9/11.) "New York" is frenetic musically and lyrically a celebration of the vitality of the beleaguered city. One of the best moments is when they add the acoustic variety with the playful love song, "Wild Honey". Then, there is the pensive encouragement of "When I Look at the World," but this is countered by the angry weariness of "Peace on Earth," vocally taken up with Job-like beligerence by Bono. \n\nSumming it all up, "All That You Can't Leave Behind," is an uplifting comeback which finds U2 recapturing their old passion and the determination to embrace hope and beauty in a fallen world. Brilliantly, they make a variety of songs that resonate with the theme of the theatre classic 'You Can't Take It with You'. Passion and determination are aspects the band can't afford to leave behind. (4 1/2 *'s) \n\nAMAZON.COM CUSTOMER REVIEW\nSafe and Predictable U2 Pop, August 12, 2006\nReviewer: Wade Tomlin (Toronto, Ontario)\nWhen All That You Can't Leave behind (ATYCLB) first hit the stores the term return to form seemed appropriate for U2. After spending the 90's experimenting and stretching their sound into at times a completely different group (see The Passengers), ATYCLB seemed like a return to the groups 80's sensibilities. \n\nThe resulting success of the record that Rolling Stone called U2's third masterpiece seemed to be a huge compliment to the quality of ATYCLB. However as time has moved on and How To Dismantle An Atomic Bomb (HTDAAB) has been released , ATYCLB seems like it was a success based on what the group had done not what the group had actually accomplished. \n\nThere is a very blah feeling to this record as while Beautiful Day and Walk On might have been catchy singles, the overall feel of ATYCLB is one of a group retreating. Songs such as Kite and Wild Honey might sound okay, but they seem more like safe choices not artistic accomplishments. One thing U2 was never previous to this record was boring. Pop in particular challenged listeners. ATYCLB didn't and doesn't, it is a safe and inviting step into the band's established sound. \n\nU2 tried to wrap ATYCLB up in the term simplicity. But really this record accomplishes what the band said they were trying to create with Pop as it is a straight forward collection of U2 pop rock tunes with none of the previous dabbling in other styles of music. The end result is as pop as a record you will hear, with the simple difference that it is copying the previous style of the band, not current trends on radio, leading to a type of repetitive feel that U2 never had in the 80's. \n\nAMAZON.COM CUSTOMER REVIEW\nU2 For Sale, July 12, 2006\nReviewer: Ms. AJ "Right" (North Carolina, USA)\n"U2 sold out!" That's right folks. Before All That You Can't Leave Behind, U2 were an underground band that only had 40 or 50 fans who had to decipher a special code to find a map that led them to a secret passaged tunnel where U2 were playing from 1979 to 1999. \n\nAn objective person can look at U2's career and notice that U2 always aimed for the mainstream. Why does every song on Boy sound anthemic? Why do they sound like Bono is screaming for his life. Because Bono & Boys envisioned those songs being belted out in stadiums, not in the underground. Why do you think they adopted a softer sound on The Unforgettable Fire? To appeal to the masses. U2 have always been calculated regarding their exposure. \n\nU2 always desired the mainstream. They've always wanted the attention. The only difference between NOW and THEN is that the music NOW is just not quite as good. \n\nDetractors turn to the music of Pop to support their argument of a past U2 that didn't care about mainstream acceptance. They say that Pop was non mainstream, and that U2 were in it to take risks and defy mainstream expectations. But these people seem to forget that the Pop album was accompanied by the largest marketing scheme in U2 history with their Popmart tour. \n\nI love U2. But let's take them for what they are: a mainstream band that has always aimed for the mainstream attention even when they didn't have it. \n\nThis music is more sedated and pedestrian than past efforts, but can we really expect a bunch of fortyish multimillionaire rockers to have the same flare and passion and earnestness as a bunch of twentyish poor rockers? U2 pretending they have so much to be angry about in this stage of the game would just be disingenuous. \n\nU2 fans: the well is by no means dry. It just takes more elbow grease to pump.\n\nAMAZON.COM CUSTOMER REVIEW\nA Beautiful Day!, June 16, 2006\nReviewer: Josephll "Feeling The Groove" (CET)\nAfter the exprimental "Pop" Album from 1997 U2 came back strong again with producers Daniel Lanois and Brian Eno who also produced the legendary "Joshua Tree" and "Achtung Baby". "All that You Can't Leave Behind" one sound like good old U2 with a much more classicist rocky sound and great crafted melodies and choruses. It doesn't really come up in the same level as the classic U2 albums that Eno and Lanois once produced but it's not that far away. Other then having a great track list, there are some really fantastic songs on this album aswell that certainly are among the best they did for years. "Beautiful Day" "Stuck In a Moment" and "Wild Honey" comes to mind. The lyrics on this album seems to make more sense then ever and U2 proves that they still are excellent musicians going forward. \n\n"Beautiful Day" that is a song about a man who has lost everything, but finds joy in what he still has. Starts slow but got a killer hook full of energy and proves U2 at their best and a perfect concert song. "Stuck in a Moment (You Can't Get Out Of)" is a tribute to INXS late singer Michael Hutchence that sadly took his life when thing started to turn sour. In the lyrics Bono tried to convince people that suicide is not the last way out. The song itself is a midtempo that actually isn't riff based, just an hell of a great pop/rock song. "Elevation" is simular to "Vertigo" from their newest album, a riff based rocker and not surprisingly a hit single too. It was soundtrack to Laura Croft, but the song is better then the film. "Walk On", a ballad, was the 4th single, and dedicated to Burma's The song was written about and dedicated to Burma's activist and freedom fighter Aung San Suu Kyi who's been in house arrest for the last 15 years now. "Kite" is apparently a song to Bono's daughter, a good midtempo. \n\n"In a Little While" is an emotional midtempo with good riffs and lyrics but far from a single. "Wild Honey" is a fantastic pop song, with Beatlesque refferences and good storyteller too. "Peace on Earth" is a political song and with a title like that also very straighforward. Yes, U2 still care about the world. "When I Look at the World" continues the same trend, but not quite as good. "New York" a tribute to the wonderful city it is and to Frank Sinatra. This is a very unusual U2 song in slow pace that focus on the lyrics ahead of the music. You wonder if Bono is trying to imitate Frank a little when he sings it?. It closes with "Grace" yet another slow ballad. "The Ground Beneath Her Feet" is a bonus track and appear on most version of the album. \n\nOverall, U2 goes back to what they are best at (With a Little Help from Eno/Lanois) after a little weaker exprimental album as "Pop". Here we'll find well crafted melodies and arrangements and memorable hooks. As always there are also good lyrics too that deal with serious subjects. It's better then "Pop" and "Atom Bomb". But not quite the masterpiece of "Joshua Tree" or "Achtung Baby" but "Leave Behind" once again proves that U2 is one of the greatest rock bands and they still got it inside. 4/5 stars. \n\nAMAZON.COM CUSTOMER REVIEW\nU2 get back to business, December 18, 2005\nReviewer: Tim Brough "author and music buff" (Springfield, PA United States)\nU2 have always been nomadic in their constant pursuit of their muse. It has lead them down many, varied, paths. Be it the flag waving rebel-song singers of "Sunday Bloody Sunday" or "I Will Follow," to the searching, questioning souls of "I Still Haven't Found What I'm Looking For" or "Pride (In The Name Of Love)," to eventually plunging headlong into the decadence of stardom with "The Fly" or "Discotheque," reinvention has often been the name of the game. \n\nFor some of us, that game derailed itself after the stunning "Achtung Baby," with Bono indulging his "I'm just a plastic pop star" phase to the hilt. Yet all this time, the concerts and the music was rarely less than amazing. Still, the CD's "Pop" and "Zooropa" weren't the awe-inspiring, transcendent moments that the band seemed capable of producing with barely a thought to the process. The U2 goal seemed to be, over and over again, to not get trapped in a moment they couldn't get out of, so to speak. \n\nIt seems then, that after almost a 4 year pause, U2 suddenly realized that just being U2 was really not so bad a day job after all. So they emerged with an album that concentrated on the band's strongest points as musicians. Not as personalities, not as saviors to the world (which seems to have become Bono's primary sideline gig), just to merely make great, awe inspiring, transcendent music - again. From the moment "Beautiful Day" juxtaposed its images of beauty and collapse atop a message of hope ("see the bird with the leaf in her mouth, after the flood all the colors came out"), you knew that the band had regained its footing and was ready to charge bravely ahead. \n\nThat message appears repeatedly on "All That You Can't Leave Behind," particularly in the two songs written after the death of Bono's friend, INXS lead singer Michael Hutchence. In "Walk On" and "Stuck In A Moment You Can't Get Out Of," Bono does the soul-searching lyric that he is best at, questioning both why Hutchence chose to end his life and also asking himself what more he could have done. "Walk On," to me, is as powerful a song as the band's classic "One." \n\n"All That You Can't Leave Behind" works on that power. You will recognize a lot of older U2 here. "Elevation" mimics "Mysterious Ways," "New York," "Bad." The band, The Edge in particular, concentrated on the keeping the music as uncluttered and unfettered as possible. This is hardly a detriment. U2 entered the new century with a newfound self-confidence, secure in the knowing that - whatever tangents they may have steered through in the past - being the most amazing rock band in the world was probably the most gratifying business to be in.\n\nAMAZON.COM CUSTOMER REVIEW\nSoaring high (on fumes)!, October 17, 2005\nReviewer: J. GARRATT "jgarratt" (Columbus, Ohio United States)\nI hate the phrase "return to form." But when you are talking about U2's "All That You Can't Leave Behind" from 2000, it's impossible to ignore phrases like "return to their roots" and "triumphant comeback." Not because that's what this album ultimately is, it's because those words were dribbling from the lips of every critic around the world when the album was released. But in the back of my mind, I flinch at the idea of "returning" within the realm of pop music, as if a group like U2 needs to make concessions. It's rock n' roll music, Bono. Not diplomacy. Stop confusing the two. \n\nIt was an exciting thing to hear, that guitar riff from "Beautiful Day." I remember it vividly. I remember thinking that the whole song rang of a certain confidence that was nowhere to be heard on "Pop," U2's previous album. "Elevation" kicked out the jams too. And there were enough ballads like "Kite" and "Stuck In A Moment You Can't Get Out Of" (silly, redundant title) to fool people into thinking that U2 sang for the thinking-man's romantic side. But your special "comeback" doesn't mean beans if you're too deliberate about it. Although this is not a bad album, it's also a realistic picture of U2 trying to do things that they can't really do anymore, at least not quite in the same capacity as they used to. \n\nCase in point is "Beautiful Day," the first single and the album's kickoff track. While there is an impressive display of musical fireworks shooting off in all different ways in the beginning, the song ultimately comes off as too synthetic. The Edge (get a different name, man) plays his guitar a little too seamlessly while the rhythm sections plays more or less what it always has played over the years. All of this would be forgivable if it weren't for Bono's tacked-on presence. His falsettos of "re-e-e-each me!" sound like they recorded in a different room, at a different time, from the rest of the band; studio trickery is supposed to hide such things. The same goes for Bono's falsetto yelps on "Elevation," sounding all too obviously like an overdub. The frustrating thing is that "Beautiful Day" and "Elevation" are very good songs, but they sound entirely too sleek to be exciting. \n\nIn a nutshell, this seems to be the problem with the album. The individual songs are good but the overall sound has too many holes in it. Things just don't add up the way they should. Many factors can be blamed, but one that I can't let go unmentioned is Bono's voice. Whatever he had, he has lost it. Close listens to "When I Look At The World" and "Wild Honey" (nothing to do with the Beach Boys) reveal how this once iron-lunged lead singer no longer has a safety net. That's a shame too, because these are good songs. Yet when I hear them, I can't help but think that Bono's pipes are just too rusted for this line of work anymore. \n\nFeeling embarrassed by the shockingly lukewarm reception to 1997's "Pop," the creative side of U2 is toned to a minimum. Only a few times does U2 conjure up the nerve to try and make something that doesn't really sound like it would fit on "The Joshua Tree, Part II." "In A Little While" is a short and sweet little bouncy ditty that proves what true U2 fans knew all along: good songwriting isn't always about amping it up. "New York" is a subtle shift, taking the stadium-ready rawk a step further. The result is a climactic, but not entirely catchy at first. But this is a good song, and it would prove to be the last time U2 actually took a true-blue chance on something. \n\nAnd if this is a "return to form," then there are lots of old faithfuls to fall back on. Much like the Edge's lead guitar in "Walk On," U2 marches forward while never heeding the fact that this song sounds like it could've been made in 1987. And the lyrical content supplies plenty of choose-your-own-sentiment for the spiritually hungry with lines like "Don't wanna see you cry/I know that this is not goodbye" from "Kite." \n\nSo in summary, "All That You Can't Leave Behind" has some confidence. But like "Pop," it doesn't have the same consistency that U2 fans are used to seeing. Half of the album is mature while the other half wishes it could be twenty years younger. But at the end of the day, who cares? They're rich.\n\nHalf.com Details \nProducer: Brian Eno, Daniel Lanois \n\nAlbum Notes\nALL THAT YOU CAN'T LEAVE BEHIND won the 2002 Grammy Award for Best Rock Album. \n\n"Beautiful Day" won the 2001 Grammy Awards for Record Of The Year, for Song Of The Year and for Best Rock Performance by a Duo or Group with Vocal.\n\n"Walk On" won the 2002 Grammy Award for Record Of The Year. \n\n"Elevation" won the 2002 Grammy Award for Best Rock Performance By A Duo Or Group With Vocal.\n \n"Stuck In A Moment You Can't Get Out Of" won the 2002 Grammy Award for Best Pop Performance By A Duo Or Group With Vocal.\n\nSeldom 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.\n\nWhile 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.\n\nIndustry Reviews\nRanked #139 in Rolling Stone's 500 Greatest Albums Of All Time - ALL THAT YOU CAN'T LEAVE BEHIND brought things back to essentials. The songs grapple with morality... Rolling Stone (12/11/2003)
This folk cd contains 1 tracks and runs 3min 49sec.
Freedb: 0200e301
Category
: Music
Tags
: music songs tracks folk Rock
- U2 - Always (03:47)
