Coldplay
Viva la Vida or Death and All His Friends
Parlophone/Capitol

knottwire's new podcast is not the only place that you can find the overly expressed opinion that Coldplay is "U2 light". You might have even heard the elitist opinion that if you have heard one Coldplay song then you have heard them all. In part, both opinions , which infer their somber style, have a bit of truth to them. The band has even addressed those issues both direct and indirectly. Front-man Chris Martin often jokes about their easy sound, and helping them work on this new album is producer Brian Eno. Eno is famous for his work with who else but U2. This means the boys are not separating themselves from the "U2 Jr." label, but embracing it. As a fan of music, you gotta love a group that despite the critical onslaught rolls with the punches and still makes the kind of music they want to create.

On Viva La Vida or Death and All His Friends, the band takes a new direction involving a wide range of instruments. By opening up a can of string (sections), the group creates productions with a larger than life sound. Usually, the fusion of a Persian santur, church organs, hand claps, a raging guitar and a soft spoken anti-war singer never makes a great mix. Somehow they pull it off.

Amongst playing in all the new soundscapes, Coldplay still manages to keep what made fans first fall in love with them on Parachutes. Their vulnerability and humility bleeds throughout the album. What does the trick is Martin's voice is often mixed to a volume slightly above the rest of the track on each song. At times, his lyrics are even overpowered by triumphant crescendos. There are a few songs that Martin doesn't sing in at all... Not significantly anyway.

At first listen, some might be turned off by the "christian rock" like stadium anthem productions. It won't help that most of the subject matter is wrapped in religious metaphors. After closer observation they should find that only the "christian rock" feel is borrowed and the subject matter is quite the opposite. Although the lyrics are equally politically charged Martin skillfully walks the fence. He manages to make his point while (unlike Bono) staying in a rock-star's place.

Art and entertainment is for the most part used for escape. Its a way for us to leave the in's and out's of the everyday grind. Coldplay has toured the world and grabbed bits and pieces of it along the way. Skillfully knitting a quilt like masterpiece, they offer us such an escape. For all the "not quite there yet" labels they are given, no one can deny that this album is heading the band in a direction that offers the versatility that the "haters" (I'm sorry, "doubters") have been yearning for. The key is that they are doing it at their own pace.

Our rating: 4 out of 5

G. Love & Special Sauce
Superhero Brother
Brushfire

We like ‘a da sauce. The sauce, it’s a’ good. We like ‘a da sauce…

…bring us more sauce.

True – that’s an obscure Robert Schneider-era Saturday Night Live reference, but it applies.

The Philly-based, lo-fi funk-blues trio maintains they are masters of their game via their latest album, Superhero Brother, a merry-go-round voyage organic hip-hop.

As showcased in the band’s catalogue, singer/guitarist G. Love’s ever-cavalierly off-key vocals and signature guitar-licks cull from vintage blues, soul and funk. What further authenticates G.’s axe is that, despite its primitive, traditional sound, the riffs are, technically, his own brand.

They’ve been seen a lot more in the recent past with Jack Johnson, who is actually a discovery of the band, and has arguably eclipsed G. Love & Special Sauce’s success.

But there are no hard feelings: G., drummer Houseman and bassist Jimi Jazz are on Johnson’s record label, and they often tour in each other’s company. Not that commercial success has eluded, but a dedication to life on the road has afforded them the luxury of recording almost entirely at their own studio, Philadelphonic Studios.

“Communication” could pass as a post-Beastie groover that ‘90s Jason Mraz might’ve imagined on one of his good days, but Superhero Brother digs deeper, addressing social truths on songs like “Peace, Love & Happiness,” which dares to hold world leaders accountable.

“Crumble” is a direct hip-hop effort, featuring a surprising G. Love rap that flows like inspired free-style.

However, despite many attempts throughout their history to demonstrate a respectful regard for funk, songs like “Georgia Brown” is another Special Sauce reminder that they don’t quite get it “in the pocket” sometimes.

They do, though, get it right on “Wiggle Worm” – a Sly Stone’ish standout funker with a cock-rock mentality.

And it is quite funky.

It’s affirming to see that fatherhood, touring up to 150 shows a year, and success haven’t taken what we love about G. Love & Special Sauce.

Our rating: 2.5 out of 5