I felt as though it was time for a post which I'm sure is not new here, but which people hopefully find interesting to read.

Transcendent. This is a word which is often tossed around when discussing music, but I have never encountered an album which deserves this label as much this one. This album shows what a rock band can achieve when its members are firing on all cylinders.

The opening track, Politik, is a powerful beast which has been beloved for years. It sees Coldplay breaking free from the comparisons to Radiohead which plagued their early work. It also shows that they could tackle more mature themes lyrically. My mind, as I am sure many others' were, was blown after watching Coldplay perform this song live in 2003 on YouTube.

The second track, In My Place, gave Coldplay confidence that they could create their second album after the success of Parachutes threatened to overwhelm them. A mid tempo jam, In My Place is introduced by Champion's crashing drums and Berryman's always steady bass. Next up, Buckland lures in the listener with beautiful and chiming guitar notes. On top of it all, Martin gives a very expressive vocal performance whereby he is yearning for a lover to return. I have always viewed this as the prototypical Coldplay song, and the perfect introduction to their sound.

The third track, God Put a Smile Upon Your Face, really explodes in a live setting. Lyrically, it provides a divergence from the rest of the album by discussing questions of life, death and mortality. It is a mysterious, brooding track which only increases in intensity as it progresses. It may be the very best live Coldplay song, or at least (one of) the most energetic.

The Scientist is one of the greatest songs ever. Why? It is simple without being cliched, relatable while still sounding sufficiently huge, and most importantly of all, it never gets old. I love the strings which are present on the studio version, but getting the crowd into this one in live performances is also very cool.

Clocks transports the listener to alternate dimensions. Berryman locks in with a pulsating bass groove, Champion provides an urgent drum beat, and Buckland tosses in tasteful and occasionally unexpected guitar licks. A feeling of soaring above the clouds is what I have always drawn from this song.

Daylight bucks anyone's preconceived notions of what Coldplay is supposed to sound like by virtue of an otherworldly guitar intro by the one and only Jonny Buckland. Daylight continues to build in intensity before peaking with an explosive finale. Martin's piano playing adds a lot to this song, and keeps it from sounding like just another rock song. I actually found it hard to believe that the intro to this track was Coldplay when I first heard it, since I didn't know they could sound so interesting.

Green Eyes brings things back down to earth. I have always found this track to create a bit of a lull, but it is still well-crafted and very earnest. It is potentially the most lovestruck song here, borrowing from the vibe of Parachutes, but once the full band kicks in, it is elevated to something altogether more compelling. Personally, if it was up to me, I would swap this song out in favor of One I Love if I had been allowed to consult on the final track listing, but I digress.

Warning Sign is desperate, but also sounds weary and tired, striking a very tricky balance. The outro allows the listener time to reflect on what was discussed in the lyrics. In a live setting, this song has only grown more popular with time. This one is really interesting to listen to late at night, since it's so chill and doesn't hit the intensity of some of the other songs on this album.

A Whisper is utterly fascinating. A kind of wall of noise vibe is explored here, which is pretty unique for Coldplay. This one takes a while to sink in and to not skip over, but once it does sink in, it really clicks. Another song where the outro is absolutely brilliant and elevates the song to even higher heights. I am a big fan of the live performance that Coldplay played at Royce Hall on the Ghost Stories tour. A huge surprise, but a pleasant one, that they busted out an oldie like this song.

A Rush of Blood to the Head is my favorite song ever. I could probably write a whole essay on it, lol. The slow intro, played on acoustic guitar, gives way to the guitar and drums revving up as Martin talks about crumbling and falling on his face. This is followed by the song falling back down to a steady bass and drum groove, though the guitar is more noticeable now with something of a spacey tone. It then moves back into the guitar and drums, which adopt a slightly more angsty tone, before the song ends on a rather hopeless note. The Live 2003 performance is, as with most of these songs, required viewing.

Amsterdam is one of those songs which defies description. A sparse opening sets the mood for Chris to enter with lyrics about stars fading and swerving out of control. He begins harmonizing with himself towards the middle of the song, which always throws the listener (me) a curveball just when they think things will get loud. The song finally does get loud when Buckland's guitar slices in and begins to roar, fueled along by Berryman's clipped bass and Champion's ferocious drums, which, again, really explode in a live setting. Things get even more intense as the song builds and Martin almost begins to lose control. At last, it comes to a close, settling back down to end the album on a fairly depressing, yet still perfect, note.