Music » Pop Rock Music

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Genre: Popular Music
Media Format: Compact Disk
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Release Date: 29-JAN-2008

Japanese special edition of this classic original album re-released on CD and packaged in a 12 x 12 inch album sized LP replica sleeve with all the original artwork and tracks. Universal. 2005.

Coldplay required a lifetime to make their wonderfully assured debut, Parachutes. But it took less than two years for the moody British quartet to deliver a masterful follow-up. As a band, Coldplay have advanced to a stage where they outshine nearly every one of their rivals in terms of imagination and emotional pull. A Rush of Blood to the Head is a soulful, exhilarating journey, moving from the cathartic rock of "Politik" to the hushed tones of "Green Eyes" without once breaking its mesmerizing spell. Singer Chris Martin takes his voice on soaring flights, reaching places only Jeff Buckley previously dared to go. And the music is nearly flawless, a persuasive cross between Pink Floyd and the Verve. Even if they haven't come up with another "Yellow," you would be hard-pressed to care. This is exquisite stuff. --Aidin Vaziri Coldplay Photos More from Coldplay X&Y Parachutes Live 2003

Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flakemusic in 1997 (though those previous incarnations date back nearly a decade) - same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavors.

As Greatest Hits--and particularly the busking pavement jazz of "Lovecats"--reminds us, the best Cure singles were very often tangential exercises; they offered a goth-free playtime divergence from some of the weightier studiousness of those early albums. Or, as smudged frontman Robert Smith says of this 18-track collection, "Songs that are sung with a smile." This wasn't always true--witness the refrigerated fogginess of the classic "A Forest," the Blair Witch Project of its day. What this compilation does is focus attention on the Cure's perennial unpredictability--the breathless claustrophobia of "Close to Me," the New Order-lite of "The Walk," the brass- section embellished thrust of "Why Can't I Be You." Oddly, chart-wise, the Cure's lost weekend began immediately after "Friday I'm in Love," their most ebullient melodic moment and the ultimate "clocking-off to kick those heels" anthem. But at least the inclusion of two new songs, "Cut Here" and "Just Say Yes" (with Saffron from Republica), indicate that the Cure remain a healthy, ongoing concern. --Kevin Maidment

Music doesn't come more touching than this. With their debut single alone, the emotion-fortified "Shiver," Coldplay prove they can shift between elated and crushed in a breath, as singer Chris Martin pours out music's oldest chestnut (unconditional yet unrequited love) with the shakiest of voices and a backdrop of epic guitars. For 10 tracks on Parachutes, he adds newfound meaning to the most tired and overused rock sentiments--love found, love lost, love unrequited--over acoustic guitars and emotionally fraught rock. And for once, all the clichés ring true because Chris Martin genuinely sounds like a man picking over the bones of his life, coming up with just as many reasons to be cheerful as seriously depressed. Not that Parachutes is a depressing album--there's too much conviction to the guitars and hope in Martin's words for that. Instead it's a beautifully tender balance that comes as close to perfection as anything that's come before it. --Dan Gennoe

1993 Geffen release, the band's final studio album with the 7:33 long 'Gallons Of Rubbing Alcohol Flow Through The Strip' added as a bonus track that is listed on the back inlay of the jewel case, but is hidden on the disc itself, since the CD scans only 12 tracks. 13 tracks total, also including the alternative hits 'All Apologies', 'Heart- Shaped Box', 'Milk It' and 'Rape Me'. The CD is a color picture disc.

With all the media hype that dogged the Strokes before the release of their debut album, it's rather apt that they chose the title Is This It. On the strength of just five songs released on two singles, the Strokes were being hailed as everything from the saviors of rock & roll to the Savior himself. Surely, few bands could live up to the impossibly high standards set for this young five-piece, but the band needn't have worried: Is This It is one of the most exciting and energetic debut albums to spring from New York's long-dormant club scene. In fact, the Strokes are a New York City band through and through; like the Velvet Underground, these are a bunch of uptown artsy types elegantly slumming downtown to the tried and tested themes of sex, drugs, and rock & roll. Their singer-songwriter, the fantastically named Julian Casablancas, delivers his lyrics with a weary nonchalance that belies his age on songs like the title track, "Soma," "Hard to Explain," and the altogether wonderful "Barely Legal." And the band recalls the likes of Television and the Stooges on "Last Nite" and "The Modern Age." Let's hope this sexy, stylish, and undeniably cool band is the future of rock & roll. --Robert Burrow

Hitch up your I-Pods, egg-headed hipsters of the future: They Might Be Giants, the out-there band that files its sound under the banner of "Can't We All Just Get Along" is speaking your language. What they're saying is No!, but in a way that's weirdly welcoming, especially to anybody who's over 3 and has a hard drive. No!'s computer enhancements (animation, games, and a sing-along scroll bar) don't assign the strictly audio experience to the so-what pile, but at certain moments they seem necessary--how else are you supposed to decipher a song ("Violin") whose only words are "violin," "hippo," and the ticking off of fractional segments of George Washington's head? Of course, to try to make sense of the 17 tunes contained here may be to miss the point. While TMBG's lyrical and vocal hijinks can be off-putting to grownups prone to self-consciousness about not getting the joke, the generation No! takes aim at needs nothing in the way of validation. Thus the brilliance of baggage-free ditties like "Fibber Island," where the natives strum rubber guitars and sew buttons on cars, "John Lee Supertaster," a rock & roll fantasy following a hero with heightened senses of sweet and sour, and "I Am a Grocery Bag," detailing what's bumping around in brown paper after a trip to the market. With their triumph over the tube (TMBG took home a Grammy for the theme to Malcolm in the Middle and perform and wrote the intro to The Daily Show with Jon Stewart), frontmen John Linnell and John Flansburgh have already infiltrated the family market, sort of. No! finds the band bending to a level lots of other giants might overlook, but without cramping up. Given the right reach, They Could Be Kiddie Icons. -Tammy La Gorce

Emerging, literally, from the streets of Milwaukee, Wisconsin, where they gained notoriety through busking, this strange trio led by guitarist-vocalist Gordon Gano became a cult favorite with their self-titled debut album in 1983. Influenced greatly by Jonathan Richman's Modern Lovers, the Femmes' minimalist sound pitted Gano's low-volume electric guitar against Brian Ritchie's acoustic bass guitar and Victor De Lorenzo's ashcanlike homemade drum kit--all of which only served to make Gano's angst-ridden adolescent tirades more arresting. Highlights here are the rockabillyish "Gone Daddy Gone," the snotty "Kiss Off," and the emblematically nervous "Blister in the Sun." All in all, a fond reminder of the innocent days of alt-rock. (Note: The 20th anniversary deluxe version of the album includes an additional 26 demos and live tunes, 22 of them never before released.) --Billy Altman