TheLostColdplayer

Completely agree. Just three considerations: 1) Coldplay seem to seek a performance that is as close as possible to what one hears on the studio album. They generally do not allow any other musician on stage, so obviously they will have to rely on a lot of backing tracks (including vocal tracks). 2) Their shows are among the most iconic and spectacular nowadays, but also among the most expensive. Their standing tickets are currently more than twice the price of those for arena acts like Arcade Fire or Bon Iver. 3) Most concertgoers are ordinary people just looking for fun and a great time, rather than hardcore fans like many of us. They get exactly what they expect and the band seems to focus more and more on the general audience. This is just to show how there are good reasons to support either point of view, concerning their use of pre recorded tracks. Personally, I think that a live performance should be as live as possible. If this implies completely reworking the songs or employing touring members so much the better. That should really give people a good reason to buy the live album, i.e. to get a unique performance that is different from what they already have on the studio album. That's why to me the most interesting part of the current show is the C-stage, where the band truly shines for its chemistry and music prevails over visuals. However, as I said, that's not what most of the audience wants from Coldplay, so I represent a really small minority among fans.

Yes that's what I was looking for, I think. Thank you very much. So it's on the Spotify app, right?

Hi there! Does anyone among you remember where did Coldplay describe all the songs from MOTS1? I recall they wrote somewhere that Max Martin wanted to cut "Coloratura" to a 3min song and that Jon Hopkins had created the sound at the end of "Humankind". Stuff like that. Was that on Spotify? I can't remember, and I would be very pleased if someone could copy here those descriptions or send a link to them. 😉

Hi! Do you know something else about it? I once heard Chris saying that they had a song with all auto-tune... 😂

Queen of Spain, she's mentioned in "Rainy Day".

Hurts Like Heaven vs Strawberry Swing

Yes!

Ok, so Peter Gabriel is releasing new stuff for the first time in twenty years, the new single features Brian Eno on synths and bells and was partly recorded at the Beehive. And no one here is talking about it.

"Now My Feet Won't Touch the Ground" Aren't those brass harmonies really beautiful and touching?

Hi guys! Nice to be back here. What you say is really interesting. I also heard that they brought back several Wedding Album / Mylo Xyloto era tracks during the Everyday Life sessions ("Arabesque" obviously, but also others). How did you discover about "The Astronaut", by the way? P.S. 100% agree with what has been said on the SNL performances.

Well... to me this was an easy one. "Death Will Never Conquer (Will's version)" vs. "Moving to Mars"

Well, that Harry Potter thing kind of sounds familiar...

Anachronism means something that appears outside of its correct time frame. For instance on Everyday Life's album cover Coldplay appear alongside Jonny's great-grandfather's band in a 1920s photo. Word: Edwardian

One of my posts, dealing with the unreleased song "The Race" remaines hidden and I don't know whether it's a website problem or if is due to the post's content. In it there's nothing new except for my guess on the matter and most of it has been already discussed in detail in previous posts by other users. Thanks to anyone helping!

Hi!! Well, that's just my personal opinion, but I'm pretty convinced that all the versions we know actually come from the AHFOD sessions and none of them is the original GS song. I don't know anything for sure, so perhaps I'm completely wrong, but this point was discussed earlier in this thread and there is actually no proof that the first two versions come from the GS sessions. Personally I believe that some portions of the song, like the first verse, may come from the original version (perhaps with a different tempo) but that the chorus and production are from AHFOD. If you listen carefully you may recognise some similarities production-wise with AHFOD (for instance the strings and synths resemble those at the end of HFTW, or the voice effects) and even lyrically the song seems to have little in common with GS and much more with AHFOD (es. Kaleidoscopes, colours that explode). Another point is that they had envisioned The Race as the opening song of GS at some point, I don't think that something similar could have happened if the original The Race was as upbeat as the first two versions that we have. Just consider the way the band was divided over ASFOS! Then there's just a perception. As a Coldplay fan that discovered the band through Ghost Stories, there is something telling me that those versions can't be from Ghost Stories, they lack the delicacy of that album.

Thanks for the updates about The Race!! Actually I believe that all three versions of the Race are from AHFOD and we still have to hear the original song... I hope it's the one we will hear at the end!

Hi!! I'm not sure, but if I well remember both "The Escapist" and "Chinese Sleep Chant" start just a couple of seconds after the first song. "Life is for Living" after 8 seconds. "Till Kingdom Come" immediately after. Anyway what I was trying to say is that Chris always said that "Don't ever let go" is the message of the whole album, so putting it after all that silence seems a bit strange to me whenever I go through the Ghost Stories journey. Actually they seem to have reverted that on the streaming version of the album and on the Target edition, which feature no silence.

I've been reading the posts in this thread and decided to share my opinion on the subject even if the discussion dates back to 2014. I think that ASFOS works pretty well as the penultimate track in Ghost Stories. It represents the joyful realisation that there might be love between two people even after a heartbreaking separation. Musically I love the transition between Oceans and ASFOS, with those ambient synths, the waves and the bells, probably one of their best to me. I agree that the transition into O is a bit more odd, but I believe that Fly On has to be the closing song of the journey as it deals with the interiorization of what one as learned, while ASFOS is more joyful and less "intellectual" I must say. What really bothers me about Ghost Stories is the long silence between Fly On and O. I perceive O as the counterpart to AIMH at the end of the record, the epilogue of the story, and putting it after that long silence seems to disrupt a bit the album's flow. At least to me.

"Low", the first collaboration with Brian Eno!

I really like "Ink" but if I have to choose... "Death Will Never Conquer" (Will's version) vs "Life is for Living"

67116

It gets harder and harder! Death Will Never Conquer (Will's version) vs Prospekt's March

To me it's definetely the experimental era from 2007 up to 2010. I really like the Viva look and persona (I mean the way he talked in interviews, his irony and self-deprecation. I love that.), both with long and shorter hair. I also love the look with 19th century-inspired jackets. But I also really like the 2010 look. I refer to that video from the AHFOD film where Chris plays "Charlie Brown" at the Beehive with the band and he appears so inspired. While he plays the piano you can feel the energy and the magic coming from him through the music. As I said, pure magic.

Jane Weaver, whose vocals from "Silver Chord" are sampled on "Another's Arms"

I won't choose one song over the other as they're both masterpieces and I will feel a bit guilty (perhaps I prefer NMFWTTG, but DWNC has Will on lead vocals...). Anyway, I just noticed that the two songs are linked by the lyric "Let me go, boys, let me go".