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Coldplay, Shakira Release New Recordings
Coldplay, “X&Y’’ (Capital) Chris Martin and his bandmates re-cently found their group thrust into an unusual place for a rock band – a corporate boardroom. When Coldplay delayed the release of “X&Y,’’ the media giant EMI (which owns Capital, their label) warned that first quarter profits would be down be-cause of it. Yes, the long wait for the much-anticipated third album from one of the world’s biggest rock bands had upset not their fans, groupies or even Gwyneth, but shareholders. The band has said they went back to the drawing board, shelving the first recording of “X&Y’’ because it lacked passion and was too precise. Sadly, those are exactly the problems with the final cut. Coldplay’s rise to superstardom has been an unlikely one. With irresistible melody and comfortable lullabies, the British band has become immensely popular with hits like “Yellow,’’ “In My Place,’’ “Clocks’’ and “The Scientist.’’ On “X&Y,’’ however, their formula is too obvious to hide: 1. quiet start, 2. swelling chorus, 3. pretty, high singing and 4. some pseudo-poetic line about stars or lights, all to the effect of “it’s gonna be alright.’’ Essentially, Coldplay writes every song for the scene in the movie where the guy rushes across hell and high water to kiss the girl as in the rain. Awwww. To be fair, there is enough here to please Coldplay fans. Like their last disc, “A Rush of Blood to the Head,’’ the memorable tunes are found on the album’s first half. Of those, “Fix You’’ is the best. After a precious start, the song rebounds with a Coldplay trademarked burst of symphony and the whole band singing in concert, “Tears stream down your face / I promise you I will learn from my mistakes.’’ While the standard image accompanying Coldplay is of Martin thrashing at the piano, crooning blissfully, “Fix You’’ and other tracks illuminate the steady, important guitar playing of Jonny Buckland. Though he sticks to repeating bright, melody-laden riffs, he still comes up with those riffs. “Talk’’ is built around one such line, a more somber, echo-y number about the need for, well, a chat. “Speed of Sound,’’ is standard Cold-play, founded on an almost ‘80s piano part. As with most of their songs, it’s polished enough to get the job done. But for those who fail to swoon at every time Martin hits those high notes, there isn’t much to cling to. Worse, Martin’s lyrics are a veritable laundry list of triteness, complete with “deep end’’ metaphors, “like a puzzle’’ similes and, of course, a “ladder up to the sun.’’ Eventually, lines like “I could write a song / a hundred miles long,’’ and the (one pictures) eyes-closed head-tilt of Mr. Paltrow – add up to a feeling of pretentiousness. That quality (never a stranger to rock bands, least of all, Bri-tish ones) will at least keep Coldplay out of the boardroom. But it does little for energizing these ballads. But by the end of “X&Y,’’ you’re more likely to be hitting the zzz’s. Jake Coyle, AP Writer
Shakira, “Fijacion Oral Vol. 1’’ (Epic) In a way, it’s almost a shame that Shakira is so gorgeous and her dance moves so mesmerizing, because it’s easy to overlook the power and variety of her unique voice. Fortunately, the release of “Fijacion Oral Vol. 1’’ – the first half of her new two-album project – gives the listener a chance to hear Shakira showing off her best asset. (An English-language second volume is set for release in the fall.) The melancholy yodel of this Co-lombian voice is expertly used through-out her 10-song collection, such as on the mellow opening “En Tus Pupilas.’’ The breakout single, “La Tortura,’’ is a sexy duet with Spanish star Alejandro Sanz that has an infectious accordion line woven into the chorus and Sanz playing the tres, a Cuban string instru- ment. (The accompanying video, available on the disc’s reverse side, leaves one wondering just how Shakira manages to move like that!) The 28-year-old Shakira has paired up with several co-writers for the project, which is produced by the renowned Rick Rubin (acclaimed for his work with Johnny Cash, the Beastie Boys, the Red Hot Chili Peppers and others.) Not every cut is a standout, but any weaknesses are easily forgiven by a close listen to “Obtener Un Si,’’ an absolutely superb bossa nova flavored with retro orchestrations. Those who have grown accustomed to only seeing Shakira will be surprised to remember that her voice is, indeed, simply lovely. Michelle Morgante, AP Writer
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