So many new songs, I have two posts about the pop spotlight this week.

• Coldplay's new release has spawned different singles in the US and the UK. "Violet Hill" is the BBC hit. Coldplay? I've never seen why they are so hugely popular--and you can multiply that by a factor of five in Great Britain. This is a big, theatrical number that even has some roaring guitars and singer Chris Martin still hasn't figured out how to use that dreadful voice of his.
• From megastars Coldplay, we go to an obscure debut from We The Kings: "Check Yes Juliet (Run Baby Run)". I think we can safely call this "power pop", a favorite genre of mine. The singer is a little anonymous and the peppy melody is a hair sing-songy (in a bad way).
• Frankly, after Nine Inch Nails has gone years and years between releases, I felt a little surprised to see mastermind Trent Reznor release first a project of remix tools, followed by a full album, free on the web. He's even managed a single without major label support, "Discipline". A shambling, funky groove, this isn't one of those NIN songs that reach the heights of drama, but you know, almost anything he does is distinctively good.
• I recently read that Kylie Minogue is the best-selling female artist in Europe over the last two decades. In the UK, she's enjoying her third hit single from her most recent album, "In My Arms". It's better than "Wow", but not as good as "2 Hearts". Still, she's a charming performer and the song is solid.
• The other Coldplay debut is the title track from their new CD, "Viva La Vida". It's a nicely syncopated string arrangement under a soaring melody and Chris Martin sings in a more comfortable part of his register for a change. Coldplay still isn't on my favorite list, but this one is better than anything I've heard from them in the last couple of years.
• The new Kelly Rowland song is a re-tread of an old Bobby Womack hit that I barely recall, "Daylight". Travis McCoy of Gym Class Heroes has a proinent guest role that seems to fit, given how many times that act has taken vintage songs and re-purposed them. I generally enjoy Ms. Rowland's singing and this is a strong song, but her phrasing choices here are odd and mannered (perhaps a result of a good song revealing her weaknesses?), making "Daylight" easy to enjoy but hard to love.
• In the UK, Duffy is already enjoying her second big hit from her debut album. "Warwick Avenue" is a tasteful ballad that balances her tart voice against soft, dry guitars with piano and strings. Like a lot of the British charts' recent big hits, say, Amy Winehouse or Adele, there is a strong mood of 1960s Motown classicism here.
• Also from the UK is James Fox singing "Bluebirds Flying High". It opens with a soccer-stadium sound and then a pulsing harpsichord (1960s, yes; Motown, no--think Beatles). This is an anthem suited for soccer--er, football--crowds with a broad, easily singable chorus that's so syrupy it's painful to listen to.
• From 1960s classicism, we now meet 1980s classicism from Metro Station in the form of "Shake It". It seemed like the most memorable sound of the early '80s was a steady rhythm of eighth-notes over a simple beat, some sunny synthesizer colors and body courtesy guitar power chords. This is a sunny, accessible tune sung by a woman with all the energy and subtlety of a cheerleader.
  
• It's always a little hard to remember the last Nelly hit, but he's back again, featuring Fergie in "Party People". Gee, is this supposed to be a club hit? I love the taught, slow-burning beat, but golly, neither performer is in good form here.

CDs listened to today:

• Alan Hovhaness: Symphony No. 29 for Trombone and Band
• Oasis: (What's The Story) Morning Glory
• The Earlies: These Were The Earlies
• Bob Margolis: Terpsichore
• Queens Of The Stone Age: Songs Of The Deaf
• Various Artists: Pop Ambient 2007
• Franz Schubert: Piano Quintet In A, "The Trout"