Im Sorry If This Is In The Wrong Thread But ColdPlay Wants To Be U2

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You know, I'm pretty tired of this sentiment around here that because somebody doesn't like a thread that means it has to be locked.

It's not about not liking the thread - it's just that there have already been multiple threads about similar topics, and there's a huge Coldplay thread in the general music part of this forum. :)
 
"Best known in the field of music, Eno's discography as a musician, producer and artistic collaborator includes some of the most acclaimed recordings in the history of modern music. Artists as seminal yet varied as John Cale, David Byrne, Laurie Anderson, David Bowie, Bono and Peter Gabriel have chosen to work with Eno, and he is one of the most sought after figures working across the spectrum of contemporary music, from guitar driven rock to film scores and electronica.

Eno's early dedication to the musical avant garde was always steeped in wit and a passionate regard for the classic history of purely popular music – from black American doo-wop through the volatile lullabies of The Velvet Underground to the eerie soundscapes of Can. Speaking in 1997, Eno defined his relationship to pop in a characteristically succinct and aphoristic aside: "I have never thought that popular music was about making music in the traditional sense of the word;" he said, "it is about creating new, imaginary worlds and inviting people to join them."

With this in mind, Eno's role as a founder member of the rock group 'Roxy Music', in 1971, can still be regarded as one of the most accomplished debuts in the history of pop. By colliding a highly stylised selection of popular music forms – from French chanson to surfer rockability by way of Johnnie Ray – with an uncompromising backdrop of atonal, electronically massaged atmospherics, Roxy Music were and remain the most eloquent and spectacular testimony to Eno's definition of pop.

In 1975, in collaboration with the artist Peter Schmidt, Eno also developed the 'Oblique Strategies' set of problem-solving cards for artists. Each card states an act or attitude which can make an immediate intervention into the creative process. In effect, this simple yet highly refined mechanism pre-figured the current vogue for re-patterning creative thinking – as life-coached today through NLP programmes – by nearly a quarter of a century.

It was also in the 70's that Eno established the 'Obscure' label of recordings. Audaciously harnessing his by-now extensive fame as a 'rock' musician, to a progressive, curatorial role as a producer, Eno single handedly brought some of the most interesting and important musicians from the musical avant garde to the vast new audience commanded by rock. Thurs Michael Nyman, John Cage, Gavin Bryars and The Penguin Café Orchestra, as well as many others, released albums on 'Obscure' in a series of uniform (yet slightly differing) black sleeves, and at a special lower cost to a mainstream pop or rock album. The series would include Eno's own 'Discreet Music' – a recording of simple variants of musical tones, and a founding example of Eno's creation of Ambient music. But, far from risking the earnest aridity of some 'intellectual' approaches to music making, the public perception of Eno's role as a good humoured and whole-heartedly generous combination of Noam Chomsky and Joe Meek made him a favourite with the music press as well as a new folk hero for liberal humanism.

By the late 70's, Eno's legendary collaboration with David Bowie on the latter's 'Low', 'Heroes' and 'The Lodger' albums, combined with his own 'Ambient' series and 'Music For Films' releases, enthroned Eno as the presiding spirit of much immediately post-punk, industrial and electronic music. In his work with Talking Heads, Devo, Snatch, Ultravox, as well as his renewed curatorial role on the 'No New York' compilation of New York New Wave groups, Eno was regarded as a Phil Spector-like figure for the new groups enabled by punk.

A pioneer of extreme form of music making, Eno's brilliance as a producer lies in his ability to enable musicians to re-enchant their own creativity in new and dramatic ways. Thus his work with Talking Heads saw the group expand on their edgy, guitar driven songs of alienation and domestic unease, to achieve a soaring, epic version of themselves. His role as U2's producer – on 'Unforgettable Fire', 'The Joshua Tree', 'Zooropa', 'Achtung Baby' and 'All That You Can't Leave Behind', would transform the band from anthemic rockers into purveyors of multi-media spectacle – the anthemic rocking intact, but intensified into a hyper-stylised version of itself by the acuity of Eno's production.

It is a testament to Eno's standing as a musician that he has been cited as an inspiration by artists as varied in tone and temperament as Prince, Franz Ferdinand, Autechre and Public Enemy. His collaboration with David Byrne, 'My Life In The Bush of Ghosts', released in 1981, is still regarded as one of the founding models for the use of sampling in music – its pared down, febrile energy and funk guitars coming across like some sci-fi reclamation of a global media reaching critical mass. Eno's continued work in the musical field has been matched by his site specific and environmental media projects – notably in the form of audio-visual installation. Asked by the Tate Gallery to present the prestigious Turner Prize, Eno has been as much an art historical reference point of inspiration of young artists as Warhol or Jeff Koons, and it is the pan media yet holistically intact nature of Eno's work to which they most respond."

I got that off the net. So when you talk about Brian Eno's work, is the above what you're talking about??

Or are you just familiar with only his work with U2, like most U2 fans??? To say I find this argument, simplistic at best, idiotic at worst, is an understatement and a waste of time.

And I shall roll my eyes melodramatically now.....

BAM!
 
After hearing Coldplay's New album with Eno producing... either Coldplay wants to be U2 or U2 has been simply a puppet of Eno when U2 were at its best...because minus edges delay and bonos voice i really see no difference in sound.

I haven't heard Coldplay's new album, but I thought they sounded like U2 ages ago. Even my friends would say that. One friend said other friends came up to him once asking if he heard the new U2 song - and it turned out to be a Coldplay song!

But I hear U2 in a lot of artists, from Fallout Boy to The Killers to Snow Patrol. And why not? U2 have their own influences of huge artists in their youth, so it's not surprising new or newer bands are influenced by huge artists of their own youth. The one difference is that U2 is still ridiculously popular.
 
I don't care about Coldplay
I do think it's funny that people take offense that others compare Coldplay to U2 while Chris Martin himself seems to be spending a good portion of his time doing this exact same thing
 
Coldplay's a talented, albeit decent band sidelined by their lead singer's blatant douchebaggery. I've never heard the other band members speak, but wish Chrissy Martin would shut the hell up sometimes. I know people feel the same way about Bono, although I think he and his band have actually proven themselves as a viable band artistically and commercially over the course of what, 25+ years?

Like others have said, the Coldplay/U2 comparisons come about deliberately because THE LEAD SINGER SAYS IT IN EVERY INTERVIEW. It's also the fault of the goddamn media and public, hyping up a band as the "next ___" before they've done something. The same thing's happened to M. Night Shamalamadingdong and his films, I hope it doesn't happen to this band.

In summary, Chris Martin and the media need to shut the hell up and Coldplay just needs to keep making music that suit them without devolving into someone as wasted as Shamalamadingdong.
 
I can certainly hear some U2 influences in Coldplay's music, but that isn't to say that Coldplay are anywhere near U2's standard or ever will be.
Aside from the comparisons, I have never understood why Coldplay are so highly rated by the media, they are just an average band, with some decent melodies, nothing too exciting or innovative and Chris Martin is a poor singer, with a limited vocal range.

Bono may not have the same vocal power as he did in his 20s, but at least he had that dynamic range with an impressive falsetto, an ability to sing in a variety of styles, with an incredible force behind his voice, that has evolved into a more soulful sound.

Chris Martin has always had a very boring and dull vocal and when I have heard Coldplay's live performances, he seems to struggle, has a general lack of power, control and weak falsetto. I think he is their main weakness and because of that they will always be limited in what they can do and how good they can be. It has nothing to do with U2 in my view. If anything it's Chris Martin's blatant Bono-wannabe impression that is tiresome and unoriginal.

I can't wait for the new U2 album, then we can stop hearing all the hype about Viva La Vida etc and watching that damn Apple commercial.....
 
But I hear U2 in a lot of artists, from Fallout Boy to The Killers to Snow Patrol. And why not? U2 have their own influences of huge artists in their youth, so it's not surprising new or newer bands are influenced by huge artists of their own youth. The one difference is that U2 is still ridiculously popular.

for instance:

The Independent

ENO'S MUSICAL FOILS

Roxy Music Eno's role behind the keyboards and mixing desk in 1971-73 first made him a household name.

David Bowie One of his first pop collaborations, in 1977, and his production work on the Berlin Trilogy helped re-categorise Bowie's work.

Devo The American band owe their alternative new-wave sound in part to Eno, who produced their 1978 debut album.

Talking Heads Responsible for the overall new-wave sound of early Talking Heads. Working closely with David Byrne and the band, he co-wrote their critically acclaimed 1980 album Remain In Light.

James Eno developed the Manchester band's ambient sound with a recording process that resulted in the hit album Laid and the experimental Wah Wah, which brought out their talent for spontaneous jams.

U2 Eno produced The Unforgettable Fire with Daniel Lanois in 1984 and since then the pair have produced some of the band's most famous works, including The Joshua Tree and Achtung Baby.

Paul Simon Simon's highly anticipated first collaboration with Eno, which came when Simon was 64, was realised in the 11-track album Surprise in 2006.

Coldplay The latest band to get the Eno treatment on their album Viva la Vida


Dandy who changed his tune - Music - Entertainment - smh.com.au
 
Oh god, i didn't think coldplay would want a song with a number song just becuase other bands have number songs.....

But i do enjoy the 3 bits part, makes the song more interesting!

"Another ambitious task must have been the three-act track, ''42.'' What's the significance of that number?
MARTIN: It's a little bit of a nod to U2, who have a song called ''40,'' and also to Smashing Pumpkins, who have a song called ''1979.'' I don't think you can try and be the best band in the world without having a song that's a number. Radiohead have ''2+2=5,'' Jay-Z's got ''99 Problems,'' R.E.M. have ''Driver 8.'' It was the last song we wrote, which came in three bits. Jonny said, ''Let's put them all in one song,'' and we did. Once we recorded it, we were like, ''OK, we can hand the album in.''


But i do enjoy coldplay being honest. Atleast they say when they steal stuff from other artists or get 'inspired'.
 
Oh god, i didn't think coldplay would want a song with a number song just becuase other bands have number songs.....

But i do enjoy the 3 bits part, makes the song more interesting!

"Another ambitious task must have been the three-act track, ''42.'' What's the significance of that number?
MARTIN: It's a little bit of a nod to U2, who have a song called ''40,'' and also to Smashing Pumpkins, who have a song called ''1979.'' I don't think you can try and be the best band in the world without having a song that's a number. Radiohead have ''2+2=5,'' Jay-Z's got ''99 Problems,'' R.E.M. have ''Driver 8.'' It was the last song we wrote, which came in three bits. Jonny said, ''Let's put them all in one song,'' and we did. Once we recorded it, we were like, ''OK, we can hand the album in.''


But i do enjoy coldplay being honest. Atleast they say when they steal stuff from other artists or get 'inspired'.

oh fuck, I knew it...he was thinking U2 when they decided to put this on the album...unbelievable.....it's comical though, really....the title "40" is sooo much better than the title "42"...."42" sounds so stupid!! and where did 42 come from anyway? So he was inspired...but why 42? Is there even a point behind it...or is this just some random number he came up with....

The more and more I hear crap like this, the clearer it all becomes.....:tsk:
 
Anyone who's read any Douglas Adams might find the number 42 significant.

Coldplay using it sure ain't cool though.

The more I read from Martin the more I want to give him a serious beatdown. I feel sorry for his fans that are slowly realizing how much of a fucking tool this guy is. Actually, no I don't. That's what you get for throwing in with safe, milquetoasty snooze rockers.

Good luck trying to put that out of your mind when you're listening to the music.
 
Oh god, i didn't think coldplay would want a song with a number song just becuase other bands have number songs.....

But i do enjoy the 3 bits part, makes the song more interesting!

"Another ambitious task must have been the three-act track, ''42.'' What's the significance of that number?
MARTIN: It's a little bit of a nod to U2, who have a song called ''40,'' and also to Smashing Pumpkins, who have a song called ''1979.'' I don't think you can try and be the best band in the world without having a song that's a number. Radiohead have ''2+2=5,'' Jay-Z's got ''99 Problems,'' R.E.M. have ''Driver 8.'' It was the last song we wrote, which came in three bits. Jonny said, ''Let's put them all in one song,'' and we did. Once we recorded it, we were like, ''OK, we can hand the album in.''


But i do enjoy coldplay being honest. Atleast they say when they steal stuff from other artists or get 'inspired'.

Oh fuck me, didn't anyone get that that was a JOKE???? He's joking about the numbers thing.

Geez, are you all doofuses or what???
 
oh fuck, I knew it...he was thinking U2 when they decided to put this on the album...unbelievable.....it's comical though, really....the title "40" is sooo much better than the title "42"...."42" sounds so stupid!! and where did 42 come from anyway? So he was inspired...but why 42? Is there even a point behind it...or is this just some random number he came up with....

The more and more I hear crap like this, the clearer it all becomes.....:tsk:

You've never read Hitchhikers then....
 
oh fuck, I knew it...he was thinking U2 when they decided to put this on the album...unbelievable.....it's comical though, really....the title "40" is sooo much better than the title "42"...."42" sounds so stupid!! and where did 42 come from anyway? So he was inspired...but why 42? Is there even a point behind it...or is this just some random number he came up with....

The more and more I hear crap like this, the clearer it all becomes.....:tsk:

You've got to be kidding me.
 
Can we knock off the insults towards each other, please?

I'm not an idiot, I know that people get tired of the U2/Coldplay threads. But, really, the biggest problem with these threads is people getting into fights and complaining about these threads existing. It's really kind of silly. You either want to discuss the topic (in a civil manner), or you don't...and you can post elsewhere. It's really not a big deal.
 
oh one more thing....don't think for a second that Coldplay wasn't thinking streets when they put "Life In Technicolor" as the opener to the new album. They should be ashamed of themselves. How can they be proud of this....Can't remember what song right now...I was listening earlier today...they also ripped off a few Beatles melodies somewhere...

well done Coldplay....well done... :applaud:




:rolleyes:
 
Anyone who's read any Douglas Adams might find the number 42 significant.

Coldplay using it sure ain't cool though.

The more I read from Martin the more I want to give him a serious beatdown. I feel sorry for his fans that are slowly realizing how much of a fucking tool this guy is. Actually, no I don't. That's what you get for throwing in with safe, milquetoasty snooze rockers.

Gee, you're such a lovely, tolerant person.
 
as long as chris martin didn't say that the song 42 took them 10 minutes to rehearse it, 10 minutes to make the lyrics, 10 minutes to record it and 12 minutes to think of ways to make it sound more like other bands. :/
 
oh one more thing....don't think for a second that Coldplay wasn't thinking streets when they put "Life In Technicolor" as the opener to the new album. They should be ashamed of themselves. How can they be proud of this....Can't remember what song right now...I was listening earlier today...they also ripped off a few Beatles melodies somewhere...

well done Coldplay....well done... :applaud:




:rolleyes:


You have got to be kidding me. :doh:

The Beatles are probably the most copied band of all time. You can trace melodies from a myriad songs back to them, including U2 songs. And U2 have borrowed ideas and sounds from other artists and incorporated them in their own songs. After more than 60 years of rock 'n roll, there are very few original ideas left, and a lot of tricks are recycled. In my opinion, it's just the nature of the musical beast.

U2 is not the be all and end all of music. You should be proud, as a fan, that they're inspired and influenced countless musicians out there, just as they've been inspired by others.
 
You have got to be kidding me. :doh:

The Beatles are probably the most copied band of all time. You can trace melodies from a myriad songs back to them, including U2 songs. And U2 have borrowed ideas and sounds from other artists and incorporated them in their own songs. After more than 60 years of rock 'n roll, there are very few original ideas left, and a lot of tricks are recycled. In my opinion, it's just the nature of the musical beast.

U2 is not the be all and end all of music. You should be proud, as a fan, that they're inspired and influenced countless musicians out there, just as they've been inspired by others.

The most credible thing for a band to do in this day and age is to set out a vision for an album or a song or whatever, and actually achieve it by successfully integrating their source of inspiration within this vision. That's what U2 did with some of the stuff they did in the latter half of the 80's. They sourced their inspiration from all over the joint (Dylan, Mitchell) and adapted it to their own stylistic way of doing things and created some quite amazing recordings.

I would argue that Coldplay's Viva La Vida album is (from only a few listens), a successful derivation of their inspired vision, and with the exception of Square One & Talk, it is something they mostly failed to fulfil on X&Y.

Mind you, I would say the broader inspiration of the Beatles is not so much a case of copied versions of their songs, but more a case of extending the musical ideas and avenues created by Beatles. In the same way Radiohead opened up avenues for bands like Muse.
 
I thought Muse was radiohead when I heard that song "i want someone to HOOOOLLLLD"..dont know the name of it...piano's on it and such...?
 
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