Sir Raptor of Nonsense

Considering that the majority of Coldplay songs fall closer to balladry, it's quite safe to say a second ballad will be released; it'd be stupid not to. As I've said before, I don't see the band marketing "Talk", as it's not even an entirely original work, and "Square One" would not be very radio friendly(though neither is "Fix You", so I suppose that's not a prerequisite for them), and "Swallowed in the Sea" follows the same formula as "Fix You", so I don't see that happening, either. I'd bet money that "White Shadows" will be the third, with "What If" closing things out.("A Message" ought to make the cut, and given the abundance of material, they could get away with it being fifth.)

You may also hear the Great Wall of China can't withstand a sneeze, but that doesn't make that true, either. Buy it form your own opinion.

I'm a big U2 fan.That is, bigger than I am a Coldplay fan. With that in mind, I think I'm in a position to say: X&Y sounds very, very little like U2. Fine, Jonny uses similar techniques sometimes, as in "Talk", but even then... *kaff* he doesn't have enough talent to sound too much like the Edge. No offense to him, of course; he's already better here than either of their previous efforts, so I suspect the next album will see him even better.(This was likewise true of Edge; I don't think his real talents shone through until album #4, and even then they were hazy and ambient. It would be #5 before he learned how to make it a lead isntrument, and #7 before he proved himself a guitar hero.) The closest Coldplay and Jonny have ever come to sounding like U2, I believe, is "Moses". To say the album 'imitates' U2 is mildly insulting, a sit places the band in a position they themselves do not concede. Bands will inevitably harken back to their influences, to which I boldy respond: Duh. That is, it all sounds slightly U2-esque -- they're a chief influence. But it still sounds like Coldplay, but a Coldplay also inflecting their music with the other sounds of the '80s, which we may forget existed. That's mostly all I wanted to say, except that 'simple' is nto a word I'd use to describe "Clocks"; I'd use a more fitting word, like 'ambitious'. Or 'complicated'.

I've onyl heard the version from the Live 2003 DVD, and based on that one, I feel the studio version is superior. It just doesn't feel so flawless and swelling on the DVD; it feels like it derails. "A Rush of Blood to the Head", however, is vastly superior in concert. A dangerous, almost folksy vibe emanates from that one... (That last sentence reads as though 'folksy' is a sinister or ominous word...)

I assume the operative term here is 'least favorite'; that's a far cry from 'worst song'. But one Coldplay song that fills me with no sense of inspiration, feeling, or even belief, is "Warning Sign". Sure, Chris' voice is sincere, but the bland music that accompanies it doesn't convey an honest emotion the way "The Scientist" or "Clocks" do. Even "A Whisper" sees the music mirroring the content of the lyrics, but "Warning Sign" does nothing for me. Actually, let's tie that with "God Put a Smile Upon Your Face" -- potent rock from a band that rarely comes across as such, but any genuineness somehow flees the scene of the crime.

I think part of the fun of Coldplay is what an everyman Chris Martin really is; his stage moves are so signature, but so goofy. It's very charming, in its way. Anyway, yes, I'm a doofus -- of course I dance doofusily. If that menas replicating the stage moves of Chris Martin, so be it.

"Amsterdam", for its lyrics and greater meaning. The crescendo is nowhere near as epic as "Fix You"(and I wish it were; that's the best part of the song), and, come to think of it, the latter would have been improved marginally if they'd just ditched the lousy organ in favor of the piano. Bah. Why can't we change the past?

I think that if it actually had an intoduction rather than just abruptly starting, it'd see less hatred. The same goes for "Daylight". Heck, I think the whole album would have been improved if they'd just paid that attention...

Listening to it the other day, it actually follows the same formula as "Fix You"(start out slow and simple, add an extra instrument or two after the first chorus, after second chorus go all-out, return to simplicity during final verse), which everyone knows is going to be a single, so I doubt the boys would release 'Swallowed' if "Fix You" was already out, but in a not-terribly-parallel universe, I suppose I could see this song in "Fix You"'s place. I think "White Shadows" is a given for #3; "Square One" lacks something, and I love "Low", but the alck of melody should automatically negate it as a single(you can't really hum it; what good's a Coldplay song on the radio if you won't be humming it afterward?), plus the wise order of singles is to alternate between ballads and rockers -- and "Fix You" ain't no rocker.

It's funny -- when I first hear a song I love, I immediately want it to be a hit so it will earn its deserved exposure. In other words, I want to share it, not keep it all to myself. In my short time on this board, I've quickly become appalled at the selfishness of fans. "Speed of Sound" does not a crap song make just because it got a lot of radio play. It's a good song that you got a little tired of. And "Fix You"... well, good, I'm glad it achieved this status. I'd be more pleased if I found the first two minutes more tolerable, but the build-up makes up for everything. I hope it does get overexposed; it's a sign that the world outside has a slightly higher class than Linkin Park and Lindsay Lohan.

I'm virtually positive it's "Tired of the human races". Seems to make a lot more sense.

If you really want to know what it means, ask China. They know...*shifty eyes*

Don't Believe the Truth is a very good effort and probably is Oasis' best since Morning Glory... but my favorite track on there is "Keep the Dream Alive"(alongside "Mucky Fingers", and "Let There Be Love"), with my favorite track on X&Y being(at this very moment) "White Shadows" -- which blows the best of Truth out of the water. Even of my least favorite from each record("Love Like a Bomb"/Lyla and "The Hardest Part", respectively), I'd much, much rather listen to Coldplay's.

If you come undone as if you'd been run through Some catapult and fire chimp... Feel free to do a spit-take.

Yes, I personally find it to be the best '80s powerhouse song the album has to offer(even if "White Shadows" is the much more likely single candidate), because it really charges home toward the build. I don't think Coldplay has many songs where 'piledriving' is the proper adjective to be using, but "Low" is a track that can head that list.

Daring and somewhat educated guess: "For You".

I think the real question is, how could someone NOT like this song and like Coldplay? I mean, I think this is one of a handful of tracks on X&Y that could easily be pinned on either of the two previous albums, and it'd be highlight there, too. It's simple, but the way it builds into a hard-impact ballad is very evocative. It works very well, though I'm not sure it can be loved on the first listen alone. Forget about the lyrics. Chuck 'em out the window. This is Coldplay we're talking about here, and the lyrics are secondary to the music. And "Swallowed in the Sea" has its melodic bases covered.

Having jsut listened to it very carefully on headphones, I think I can say with certainty that it's just Chris. His voice is fluctuating between tones, but I don't think it's anyone else.

"Bigger Stronger", of course. "Bridges will break..."

And? Just because it was written after the fact doesn't mean he couldn't have been channeling that sentiment.

I think the music should tell you anything that the lyrics might not. Pin a mood on it through the instruments, and a meaning should follow.

Ditto. It just has a very... pious quality to it.