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Coldplay: A Rush of Blood to the Head

 A l b u m   D e t a i l s

Artist: Coldplay
Title: A Rush of Blood to the Head
Released: 2002.08.26
Label: Parlophone Records
Time: 54:06
Producer(s): See Artists ...
Appears with:
Category: Pop/Rock
Rating: *******... (7/10)
Media type: CD
Purchase date:  2002.09.24
Price in €: 14,99
Web address: www.coldplay.com

 S o n g s ,   T r a c k s


[1] Politik (Berryman/Buckland/Champion/Martin) - 5:18
[2] In My Place (Berryman/Buckland/Champion/Martin) - 3:48
[3] God Put a Smile Upon Your Face (Berryman/Buckland/Champion/Martin) - 4:57
[4] The Scientist (Berryman/Buckland/Champion/Martin) - 5:09
[5] Clocks (Berryman/Buckland/Champion/Martin) - 5:07
[6] Daylight (Berryman/Buckland/Champion/Martin) - 5:27
[7] Green Eyes (Berryman/Buckland/Champion/Martin) - 3:43
[8] Warning Sign (Berryman/Buckland/Champion/Martin) - 5:31
[9] A Whisper (Berryman/Buckland/Champion/Martin) - 3:58
[10] A Rush of Blood to the Head (Berryman/Buckland/Champion/Martin) - 5:51
[11] Amsterdam (Berryman/Buckland/Champion/Martin) - 5:19

 A r t i s t s ,   P e r s o n n e l


GUY BERRYMAN - Bass, String Arrangements, Art Direction, Mixing, Producer
JON BUCKLAND - Guitar, String Arrangements, Art Direction, Mixing, Producer
WILL CHAMPION - Percussion, Drums, String Arrangements, Art Direction, Mixing, Producer
CHRIS MARTIN - Guitar, Piano, Vocals, String Arrangements, Art Direction, Mixing, Producer

AUDREY RILEY - Strings, String Arrangements
ANNE LINES - Strings
LEO PAYNE - Strings
CHRIS TOMBLING - Strings
RICHARD GEORGE - Strings
PETER LALE - Strings

KEN NELSON - Producer, Engineer
MARK PYTHIAN - Additional Producer, Engineer, Mixing
RIK SIMPSON - Engineer
GEORGE MARINO - Mastering
DANTON SUPPLE - Mixing
ANDREA WRIGHT - Assistant
JON BAILEY - Assistant
BLUE SOURCE - Art Direction
TOM SHEEHAN - Photography
SOLVE SUNDSBO - Cover Art
PHIL HARVEY - Management

 C o m m e n t s ,   N o t e s


2002 CD Capitol 40504



After touring in support of their debut album, Parachutes, Coldplay was personally and professionally exhausted. Frontman Chris Martin insisted he was dry; by the time they closed their European tour in summer 2001, he hadn't written a song in months. The U.K. music press immediately pounced on the idea of Coldplay calling it quits, but somewhere lurked the beauty of "In My Place." The spirit and soul of this ballad allowed Coldplay to pull it together to make a second album. What came from such anguish and inquisition was A Rush of Blood to the Head. Coldplay has surely let it all go on this record. Acoustics are drowned out by Jon Buckland's riveting guitar work, and vocally, Martin has sharpened his falsetto, refining his haunting delivery. It's a strong album; you can feel, hear, and touch the blood, sweat, and tears behind the songs, and that's exactly what Coldplay was going for. Co-producer Ken Nelson and mixer Mark Phythain (the team behind the blissful beauty of Parachutes) allowed Coldplay to make an album that's initially inaccessible, but that's what makes it intriguing. Lush melodies and a heartbreak behind the songs are there, but also a newfound confidence. From the delicate, shimmery classic "In My Place" to the piano surge of "The Scientist," Coldplay exudes an honest passion. The disco haze of "Daylight" and the lovedrunk ballad "Green Eyes" are divine examples of solid lyrical arrangements, but "Politik" and the stunning guitar-driven "God Put a Smile Upon Your Face" project a nervy edge to the band. Echoes of early post-punk showcase Coldplay's ballsy musicianship. Don't fret — it's not exactly rock & roll, but Radiohead, Echo & the Bunnymen, and The Smiths weren't exactly rock & roll either, and they were well-loved. "Yellow" didn't follow the rock formula, but it sold well, and similarly A Rush of Blood to the Head might not instantly grab listeners, but it's not tailored that way. It pushes you to look beyond dreamy vocals for a musical inner core. Regardless of the band still being in their mid-twenties, they've made an amazing record, and if it ends up being their last, A Rush of Blood to the Head didn't sugar coat anything. It's a bittersweet design no matter what.

MacKenzie Wilson - All-Music Guide, © 1992 - 2002 AEC One Stop Group, Inc.



Coldplay required a lifetime to make its 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 they 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 - Amazon.com



Coldplay haben ein Leben lang gebraucht, um mit dem so wunderbar selbstbewussten Debüt Parachutes zu landen. Aber es dauerte weniger als zwei Jahre, bis das stimmungsvolle britische Quartett ein meisterliches Folgealbum nachlieferte. Sie haben sich als Band auf ein Niveau entwickelt, auf dem sie fast jeden ihrer Rivalen in Sachen Fantasie und emotionaler Ausdruckskraft übertreffen. A Rush Of Blood To The Head ist eine gefühlvolle, heitere Reise von dem begeisternden Rock "Politik" bis hin zu den gedämpften Klängen von "Green Eyes", ohne ein einziges Mal die faszinierende Wirkung zu stören. Der Sänger Chris Martin treibt seine Stimme zu Höhenflügen an und erreicht Ebenen, die eigentlich nur Jeff Buckley bisher anzustreben wagte. Die Musik ist ganz einfach tadellos, eine überzeugende Kreuzung zwischen Pink Floyd und The Verve. Selbst wenn sie nicht noch einmal mit so etwas wie "Yellow" auftauchen, macht einem das überhaupt nichts aus. Dies ist erstklassiges Material.

Aidin Vaziri - Aus der Amazon.de-Redaktion



On Coldplay's A Rush of Blood to the Head, the melodic excellence of Parachutes remains, as does the delicate soulfulness of Chris Martin's voice. But now different styles are approached, as the band develop even further beyond their debut album (and the numerous Radiohead comparisons that dogged them at first). "God Put a Smile upon Your Face", for instance, has a thumping voodoo quality, while the hypnotic "A Whisper" has a wild vocal arrangement recalling Jefferson Airplane. Beyond this, each of the 11 tracks--from the literate power ballad "In My Place" to the 60s-style mantra "Daylight"--are given room to breathe, gradually reaching an ecstatic crescendo where Martin and that huge Coldplay piano ride over a pulsing rhythm and orchestrations that are powerful but never overblown. "Give me real, don't give me fake" says Martin in the opening "Politik" and it's an appropriately uncompromising demand, for A Rush of Blood... is without doubt the most heartfelt and emotionally liberated album to top the charts in ages.

Dominic Wills - Amazon.co.uk Review



With A Rush of Blood to the Head, Coldplay have created what may be the most disappointingly safe alternative album of the year. Their debut, Parachutes, wasn't much more than a band trying to hone in on a sound by way of Radiohead at its most wistful, though it did manage to succeed with "Yellow," a song which, while disposable, at least sounded good played loud. On Blood, Coldplay have arrived at a sound that seems to suit them best: One that is thoroughly pedestrian. Like its predecessor, this album is full of ballads and mid-tempo numbers, but the band seems to be struggling here to reach heights that seem beyond them. Specifically, Blood suffers from attempts to be painfully, tragically earnest. A perusing of singer Chris Martin's lyrics presents a guy who's trying to say something deep and meaningful, but lyrics like "Where do we go?/ Nobody knows" ("God Put a Smile Upon Your Face") and "Honey, you are the sea upon which I float" ("Green Eyes") fall far short. Like so many other British bands, Coldplay have all the lovely, floaty bits down pat, but the beauty, it turns out, is all surface.

Dana Buoniconti - August 27, 2002
CDNOW Contributing Writer
Copyright © 1994-2002 CDnow Online, Inc. All rights reserved.



Listening to Coldplay's A Rush Of Blood To The Head is a bittersweet experience; the band's signature brand of mope-rock teeters precariously between disheartened ("Warning Sign") and optimistic ("In My Place," "Daylight"), but that's what makes thisn foursome one of the U.K.'s best. Frontman Chris Martin has mastered the art of yanking listener's heartstrings with his stunning voice and reflective lyrics, but Coldplay never leaves them feeling totally dejected (listen to "Clocks," for example). While Rush Of Blood would be the ideal soundtrack for waving goodbye to a true love from a bus window before disappearing forever (see "The Scientist"), there is a cavernous beauty to this album's melodic depression that can't be denied. Take the ambitious closer "Amsterdam" for example. Martin, at his most vulnerable, sings, "I know I'm dead on the surface/ but I am screaming underneath." Then, during the song's closing crescendo, Coldplay's tone shifts from somber to spiritual and Martin's hopefulness is born again. "Stood on the edge/ tied to the noose/ but you came along and you cut me loose," he wails. That's nothing if not sincere. Put down the pills, Prozac nation. Your voice has arrived.

Kevin Boyce - CMJ New Music Report Issue: 778 - Sep 02, 2002
© 1978-2002 College Media, Inc., Inc. All Rights Reserved.



Coldplay arrived in 2000 with the smash power ballad "Yellow," an instant classic of trembling guitar ripples, ridiculous stargazing lyrics, anthemic choruses and the forlorn vocals of Chris Martin. The guy's voice sounded like a puppy kicked down a flight of stairs, one step at a time, and then kicked back up the flight of stairs. But even as he bravely flirted with outright dippiness ("Look at the stars/Look how they shine for you" -- egads), his heartfelt yodel won you over. Like similar-minded U.K. bands such as Travis and Starsailor, Coldplay took the basic sound of Radiohead and pumped it full of emotion, using those loud-quiet-loud guitar textures to soothe and console you, rather than to alienate your jangled nerves. Sweet boys, really. Martin isn't your typical rock star, either -- he proudly admits he doesn't drink (dislikes the taste) and didn't start having sex until after he'd written his first hit. But then, "Yellow" isn't a very rock & roll color, is it? Sheila E. had a great song called "Yellow," but aside from a submarine here or an electrical banana there, rockers usually think it's too boring to even sing about. Coldplay might be out of step with rock orthodoxy, but their sheer conviction has made them a global sensation.

Coldplay's debut, Parachutes, was perhaps too mellow for its own good, too sedate in its good-vibes homogeneity to stand up to repeated listens. But A Rush of Blood to the Head is a nervier, edgier, thoroughly surprising album. The guitars are still full of Pink Floyd, but the band has figured out how to let loose and rock out, something Floyd never learned. The same influences are here: the Radiohead of The Bends and OK Compute, the U2 of October and War, the Smiths of The Queen Is Dead. But where Parachutes was the clumsy diary of a high-strung kid, A Rush of Blood sounds more like a band with the confidence to test its own limits. Jonny Buckland comes into his own as a guitar hero, while Martin has grown gratifyingly adult in his sobs and growls. He's still got plenty of angst to vent, though, wailing about death ("Amsterdam"), war ("A Rush of Blood to the Head") and lost love (damn near everything).

"God Put a Smile Upon Your Face" is the slinkiest and best thing Coldplay have ever done -- while the acoustic-guitar figure may be a little too transparently based on Roxy Music's "Out of the Blue," the band whips it into a head-spinning trip of aggressively strummed paranoid folk rock. The folkie shuffle "Green Eyes" sounds like hippie Christian singalong time, but it works, while the fantastic piano ballad "The Scientist" is an overt sequel to "Yellow" ("Let's go back to the star") with a cataclysmic falsetto finale that could raise every hair on the back of your neck. Buckland shines in excellent psychedelic rockers such as "A Whisper," "Clocks" and "Daylight." When you're not in the mood, Coldplay are still too mellow: In the soggier songs, such as the unfortunate first single, "In My Place," the choked vocals can make Coldplay sound like nothing more than a trans-Atlantic breed of Counting Crow. but with A Rush of Blood, Coldplay do more than fulfill the promise of "Yellow" -- they surpass everything they've done up to this point, making first-rate guitar rock with some real emotional protein on its bones.

ROB SHEFFIELD: RS 905 - Sept. 19, 2002
© Copyright 2002 RollingStone.com
 

 L y r i c s


POLITIK

Look at earth from outer space
Everyone must find a place
Give me time and give me space
Give me real, don't give me fake

Give me strength, reserve control
Give me heart and give me soul
Give me time give us a kiss
Tell me your own politik

And open up your eyes
Open up your eyes
Open up your eyes
Open up your eyes

Give me one, 'cause one is best
In confusion, confidence
Give me peace of mind and trust
Don't forget the rest of us
Give me strength, reserve control
Give me heart and give me soul
Wounds that heal and cracks that fix
Tell me your own politik
   
And open up your eyes
Open up your eyes
Open up your eyes
Open up your eyes
Just open up your eyes

But give me love over, love over, love over this, I ...
And give me love over, love over, love over this, I ...


IN MY PLACE

In my place, in my place,
Were lines that I couldn't change,
I was lost, oh yeah.

I was lost, I was lost,
Crossed lines I shouldn't have crossed,
I was lost, oh yeah.

And yeah, how long must you wait for it?
Yeah, how long must you pay for it?
Yeah, how long must you wait for it?

I was scared, I was scared,
Tired and under prepared,
But I wait for it.

And if you go, if you go,
Leave me down here on my own,
Then I'll wait for you, yeah.

Yeah, how long must you wait for it?
Yeah, how long must you pay for it?
Yeah, how long must you wait for it?
Oh for it

Sing it please, please, please,
Come back and sing to me,
To me, me.

Come on and sing it out, now, now.
Come on and sing it out
To me, me
Come on and sing.

In my place, in my place,
Were lines that I couldn't change,
I was lost, oh yeah.
Oh yeah.


GOD PUT A SMILE UPON YOUR FACE

Where do we go, nobody knows
I've got to say I'm on my way down
God give me style and give me grace
God put a smile upon my face

Where do we go to draw the line
I've got to say I wasted all your time
Oh honey honey
Where do I go to fall from grace
God put a smile upon your face yeah

And ah, when you work it out I'm worse than you
Yeah, when you work it out I wanted to
And ah, when you work out where to draw the line
Your guess is as good as mine

Where do we go, nobody knows
Don't ever say you're on your way down when
God gave you style and gave you grace,
And put a smile upon your face oh yeah

And ah, when you work it out I'm worse than you
Yeah, when you work it out I want it to
And ah, when you work out where to draw the line
Your guess is as good as mine.

It's as good as mine, It's as good as mine
It's as good as mine

As good as mine, as good as mine,
As good as mine, as good as mine

Where do we go, nobody knows
Don't ever say you're on your way down when
God gave you style and gave you grace
And put a smile upon your face


THE SCIENTIST

Come up to meet you, tell you I'm sorry
You don't know how lovely you are

I had to find you
Tell you I need you
Tell you I set you apart

Tell me your secrets
And ask me you questions
Oh let's go back to the start

Running in circles
Coming up tails
Heads on a silence apart

Nobody said it was easy
It's such a shame for us to part
Nobody said it was easy
No one ever said it would be this hard

Oh take me back to the start

I was just guessing
At numbers and figures
Pulling your puzzles apart

Questions of science
Science and progress
Do not speak as loud as my heart

Tell me you love me
Come back and haunt me
Oh and I rush to the start

Running in circles
Chasing our tails
Coming back as we are

Nobody said it was easy
Oh it's such a shame for us to part
Nobody said it was easy
No one ever said it would be so hard

I'm going back to the start


CLOCKS

The lights go out and I can't be saved
Tides that I tried to swim against
Have brought me down upon my knees
Oh I beg, I beg and plead singing

Come out of things unsaid
Shoot an apple off my head and a
Trouble that cant be named
A tiger's waiting to be tamed singing

You are
You are

Confusion never stops
Closing walls and ticking clocks
Gonna come back and take you home
I could not stop that you now know singing

Come out upon my seas,
Cursed missed opportunities
Am I a part of the cure
Or am I part of the disease, singing

You are, you are, you are
You are, you are, you are

And nothing else compares
And nothing else compares
And nothing else compares

You are
You are

Home, home where I wanted to go
Home, home where I wanted to go
Home, home where I wanted to go
Home, home where I wanted to go


DAYLIGHT

To my surprise
And my delight
I saw a sunrise
I saw a sunlight.

I am nothing
In the dark
And the clouds burst
To show the daylight

Oooh and the sun will shine
Yeah on this heart of mine
Ooooh and I realise
Who cannot live without
Ooooh come apart without

On a hilltop
On a sky-rise
Like a firstborn
Child

And at full tilt
And in full flight
Defeat darkness
Breaking daylight

Oooh and the sun will shine
Yeah on this heart of mine
Ooooh and I realise
Who cannot live without
Ooooh and come apart without
Daylight

Slowly breaking through the daylight X10


GREEN EYES

Honey you are a rock
Upon which I stand
And I come here to talk
I hope you understand

The green eyes
Yeah the spotlight
Shines upon you

And how could
Anybody
Deny you

I came here with a load
And it feels so much lighter
Now I met you

Honey you should know
That I could never go on
Without you

Green eyes

Honey you are the sea
Upon which I float
And I came here to talk
I think you should know

That green eyes
You're the one that I wanted to find
And anyone who tried to deny you,
Must be out of their mind

Because I came here with a load
And it feels so much lighter since I met you

And honey you should know,
That I could never go on
Without you

Green eyes, green eyes, ohohoh...

Honey you are a rock
Upon which I stand.


A WARNING SIGN

A warning sign
I missed the good part then I realised
I started looking and the bubble burst
I started looking for excuses

Come on in
I've got to tell you what a state I'm in
I've got to tell you in my loudest tones
That I started looking for a warning sign

When the truth is
I miss you
Yeah the truth is
That I miss you so.

A warning sign
You came back to haunt me and I realised
That you were an island and I passed you by
When you were an island to discover

Come on in
I've got to tell you what a state I'm in
I've got to tell you in my loudest tones
That I started looking for a warning sign

When the truth is
I miss you
Yeah the truth is
That I miss you so

And I'm tired
I should not have let you go

So I crawl back into your open arms
Yes I crawl back into your open arms
And I crawl back into your open arms
Yes I crawl back into your open arms


A WHISPER

A whisper, a whisper, a whisper, a whisper
A whisper, a whisper, a whisper, a whisper

I hear the sound of the ticking of clocks
Who remembers your face
Who remember you when you are gone

I hear the sound of the ticking of clocks
Come back and look for me, look for me
When I am lost

Just a whisper, a whisper, a whisper, a whisper
Just a whisper, a whisper, a whisper, a whisper

Night turns to day
And I still have these questions
Bridges will break
Should I go forwards or backwards.
Night turns to day,
And I still get no answers

Just a whisper, a whisper, a whisper, a whisper
Just a whisper, a whisper, a whisper, a whisper

I hear the sound of the ticking of clocks
Who remember your face
Who remembers you when you are gone

I hear the sound of the ticking of clocks
Come back and look for me, look for me
When I am lost

Just a whisper, a whisper, a whisper, a whisper
Just a whisper, a whisper, a whisper, a whisper


A RUSH OF BLOOD TO THE HEAD

He said I'm gonna buy this place and burn it down
I'm gonna put it six feet underground
He said "I'm gonna buy this place and watch it fall
Stand here beside me baby in the crumbling walls

Oh I'm gonna buy this place and start a fire
Stand here until I fill all your heart's desires
Because I'm gonna buy this place and see it burn
Do back the things it did to you in return

Ah ah ah, ah ah ah...

He said I'm gonna buy a gun and start a war
If you can tell me something worth fighting for
Oh and I'm gonna buy this place that's what I said
Blame it upon a rush of blood to the head

Honey
All the movements you're starting to make
See me crumble and fall on my face
And I know the mistakes that I made
See it all disappear without a trace.
And they call as they beckon you on
They said start as you mean to go on
Start as you mean to go on

He said "I'm gonna buy this place and see it go
Stand here beside my baby, watch the orange glow
Some will laugh and some just sit and cry
But you just sit down there and you wonder why

So I'm gonna buy a gun and start a war
If you can tell me something worth fighting for
And I'm gonna buy this place that's what I said
Blame it upon a rush of blood to the head
Oh to the head

Honey
All the movements you're starting to make
See me crumble and fall on my face
And I know the mistakes that I made
See it all disappear without a trace.
And they call as they beckon you on
They said start as you mean to go on
As you mean to go on, as you mean to go on

So meet me by the bridge,
Oh meet me by the lane
When am I going to see
That pretty face again

Meet me on the road
Meet me where I sais
Blame it all upon
A rush of blood to the head


AMSTERDAM

Come on, oh my star is fading
And I swerve out of control
And if I, if I'd only waited
I'd not be stuck here in this hole.

Come here, oh my star is fading
And I swerve out of control
And I swear I waited and waited,
I've got to get out of this hole

But time is on your side
It's on your side now
Not pushing you down and all around
It's no cause for concern

Come on, oh my star is fading
And I see no chance of release
I know I'm dead on the surface
But I'm screaming underneath

And time is on your side
It's on your side now
Not pushing you down and all around
It's no cause for concern

Stuck on the end of this ball and chain
And I'm on my way back down again
Stood on a bridge, tied to a noose
Sick to the stomach
You can say what you mean
But it won't change a thing
I'm sick of the secrets

Stood on the edge
Tied to a noose
You came along
And you cut me loose

You came along
And you cut me loose
You came along
And you cut me loose
 

 M P 3   S a m p l e s


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