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Old 06-09-2005, 11:47 PM   #136
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Quote:
Originally posted by Flying FuManchu
As for Martin's lyrics... IMO he can be hit and miss just as Bono, Yorke, Gallagher, McCartney, etc. are when writing lyrics.
I can't say I remember any "hits" from Chris Martin; his lyrics, for me, range from serviceable to horrible. The artists you mention have come up with some duds, sure, but unlike Martin they wrote some truly stellar stuff as well.

Anyway, bad lyrics on a Coldplay album, or any album really, don't matter to me so much if the album is musically strong. But when an album is as uninspired as X&Y, its other flaws stick out even more.
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Old 06-10-2005, 04:34 AM   #137
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Was The Unforgettable Fire a huge critical success? Just wondering....
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Old 06-10-2005, 04:37 AM   #138
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Either way, I love the new Coldplay album and so does the casual listener (ask my girlfriend, who isn't necessarily a fan of the band, who likes the new album). The only flaws, to me, are the lyrics being weak and the fact that I have a broader vocal range than Martin (but that's something he can't change without some sort of operation -- but if he had some sort of operation, Apple would never have a younger sibling )
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Old 06-10-2005, 10:33 AM   #139
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allmusic's review is up. Four stars, but not an entirely glowing review. Many interesting comments, though.



Review by Stephen Thomas Erlewine

After Radiohead stubbornly refused to accept the mantle of world's biggest and most important rock band by releasing the willfully strange rocktronica fusion Kid A in 2000, Coldplay stepped up to the plate with their debut, Parachutes. Tasteful, earnest, introspective, anthemic, and grounded in guitars, the British quartet was everything Radiohead weren't but what the public wanted them to be, and benefited from the Oxford quintet's decision to abandon rock stardom for arcane art rock. Parachutes became was a transatlantic hit and 2002's sequel, A Rush of Blood to the Head, consolidated their success by being bigger and better than Parachutes, positioning Coldplay to not be just the new Radiohead, but the new U2: a band that belongs to the world but whose fans believe that the music is for them alone. To that end, Coldplay's third album, X&Y — slightly delayed so it follows Rush of Blood by nearly three years, but that's no longer than the time separating OK Computer and Kid A, or The Unforgettable Fire and The Joshua Tree — is designed to be the record that elevates Coldplay to the major leagues, where they are at once the biggest and most important band in the world. It's deliberate and sleek, cinematic and pristine, hip enough to sample Kraftwerk and blend in fashionable retro-'80s post-punk allusions without altering the band's core. Indeed, X&Y is hardly a bold step forward but rather a consolidation of Coldplay's strengths, particularly their skill at crafting surging, widescreen epics. But if X&Y highlights their attributes it also brings Coldplay's weaknesses into sharp relief. Forget the fact that they, by any stretch of the imagination, do not rock — rocking is simply against their nature. They are a meditative band, reflecting on their emotions instead of letting them go in a cathartic blast of noise and rhythm. This isn't a problem — after all, there have been plenty of great bands that do not rock & roll — but their terminal politeness does cripple their music, preventing it from being as majestic as its aspirations. Coldplay is well scrubbed and well behaved, possessing a textbook education in classic rock and the good sense to never stretch any farther than needed. They are the perfect middlebrow rock band — clean, pristine, and rational, seemingly smart since they never succumb to pounding, primal riffs, but also not weird enough to be genuine art rock. It's ambitious, yet its ambitions are modest, not risky, so their ambitions can be fulfilled without breaking a sweat. And since their sweeping yet subdued theatricality does recall the more majestic moments of Radiohead and U2, they have won millions of fans, but another crucial reason that Coldplay have a broad appeal is that lead singer/songwriter Chris Martin never tackles any large issues, preferring to endlessly examine his feelings. Like on Parachutes and Rush of Blood, all the songs on X&Y are ruminations on Martin's doubts, fears, hopes, and loves. His words are earnest and vague, so listeners can identify with the underlying themes in the songs, and his plain, everyman voice, sighing as sweet as a schoolboy, is unthreatening and unassuming, so it's all the easier for listeners to project their own emotions into the song. But for as impeccable as X&Y is — and, make no mistake, it's a good record, crisp, professional, and assured, a sonically satisfying sequel to A Rush of Blood to the Head — it does reveal that Martin's solipsism is a dead-end, diminishing the stature of the band. Where U2 is big in sound, scope, ambition, and intent, Coldplay is ultimately big music about small things, and even if X&Y is a strong, accomplished album, its limited, narcissistic point of view is what prevents the quartet from inheriting the title of the biggest and most important band in the world.
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Old 06-10-2005, 03:07 PM   #140
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Quote:
Originally posted by purpleblackeye


And I'm not gonna take it back

I thought he sang in the Message -

"And I'm not gonna take a bath"

ahhh damn I like the bath version better, you had to go and ruin it for me.
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Old 06-10-2005, 03:12 PM   #141
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Originally posted by the tourist
Either way, I love the new Coldplay album and so does the casual listener
Me too, all this fuc#ing talk about crap lyrics and blah blah woof woof, the music still sounds good to me. It beats the hell out of a lot of crap thats released these days and the supposedly up and coming bands such as Franz crappy Ferdinand, Kasabian, Razorlight, Snow Patrol and so on are crap compared to the latest Coldplay album.
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Old 06-10-2005, 03:13 PM   #142
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Originally posted by rjhbonovox


I thought he sang in the Message -

"And I'm not gonna take a bath"

ahhh damn I like the bath version better, you had to go and ruin it for me.


yeah, it would have been a much better song if he were saying "bath"
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Old 06-10-2005, 03:22 PM   #143
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Quote:
Originally posted by Flying FuManchu


You are correct. But Bono's wrote and sung quite a few in that style. Hell, the overrated Mercy comes to mind.

Did someone mention Mercy..
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Old 06-10-2005, 04:24 PM   #144
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Quote:
Originally posted by phanan
U2: a band that belongs to the world but whose fans believe that the music is for them alone
Heh very well put. It's exactly how I feel. U2 are huge, but somehow I don't know anyone who likes them enough to have any album other than JT.
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Old 06-13-2005, 10:30 PM   #145
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I'll do song-by-song because I like these types of reviews best.

Square One: A great opening song, with the way it builds up like that. I like the distorted guitar and the driving, crashing ahead sound. The only thing I really dislike about this song is the soaring, rising falsetto...a little bit much, IMO.

What If: I like it. It's not overly memorable, but it's a fun little track that has some cool lyrics. This song seems to me like an "I'm in love with my wife and daughter and would never want to lose that" kind of song.

White Shadows: The most U2-ish Coldplay song ever written. This seems like it could have been an outtake from The Unforgettable Fire! I love this song. The guitar is awesome, chimey, and chugging along. The chorus slams you in the face with a memorable hook and a memorable line (check my location!). One of the best songs on the album.

Fix You: I love the slow way this song builds up, and the sweet lyrics. I could do without the lyrics in the middle eight but that is really the only major fault with this song. It's not exactly something that is overly memorable but it is a nice, sweet song in the vein of What If.

Talk: Ahhhhhh This is easily my favorite song on this album. The riff is an awesome hook (even if it's not original) and I could see Chris Martin jumping all over the stage for this one. If they don't release this song as a single, then they are idiots, because this song is a guaranteed number one.

X&Y: I think this is really a forgettable song, and one of the least good ones (although still a pretty good song) on the album. The airy slide riff in the middle eight is cool though.

Speed of Sound: This song gets ripped rather unfairly, IMO. I think it's awesome, I love the way the song picks you up, sends you into space on the chorus, and doesn't let you crash back down to earth. This is the sound of flying under your own power.

A Message: The Y half's throwaway love song. It's another non-memorable song, but the buildup near the end sounds incredibly like a local band called In-Flight Safety that I love, so this definitely is a keeper.

Low: Another U2-sounding song that could have come straight off of War with an Achtung b-side thrown in. I love the guitar in this song so much that I immediately went and learned it. The line "living in perfect symmetry" for some reason really is cool to me.

The Hardest Part: This is the "driving" song of X&Y. The kind of song you like to listen to on a long drive as the sun is setting and it's clear and bright outside and you haven't got a care in the world. Songs like this are "Going to California" by Led Zeppelin and "Night Moves" by Bob Seger. Just a feel-good song that is easy to listen to and catchy.

Swallowed in the Sea: I've essentially adopted this song as mine and Amy's unofficial song. Every time I hear it I think of her. It's a fantastic love song with great lyrics that I think are a lot more poignant than the lyrics in What If or Fix You. "That's where I belong, and you belong with me."

Twisted Logic: Everyone says this song is pulled straight from Radiohead. And I really don't see it except for the guitar in the first verse and the effects on the guitar for the remainder of the song. I've tried to picture Thom Yorke singing this song. I can't do it. It's a Coldplay song. I love this song too...and the chord progression in the chorus!! I can imagine this song being a "shit your pants" moment live, if they do it right.

Til Kingdom Come: Chris Martin channeling the Man in Black. Johnny Cash would love to cover this song if he were still around. I can just picture Johnny dedicating this to June. And that's more than enough to make this a fantastic song.

Final verdict: 9.5/10
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Old 06-14-2005, 02:14 AM   #146
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talk
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Old 06-14-2005, 07:49 AM   #147
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Talk has to be their greatest song. Can't stop listening to it!
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Old 06-14-2005, 08:36 AM   #148
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Old 06-14-2005, 12:54 PM   #149
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Talk really reminds me of Simple Minds
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Old 06-14-2005, 01:09 PM   #150
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Apparently Talk is based on a Kraftwerk riff, so the band have said. Its a great song on an album full of great songs....what if, white shadows, fix you, x and y, message, low etc....I have probably listened to this album more times than I have anything else for years as far as new releases go, its an album that deserves repeated listening!
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