Aprophet

I really can't believe I hadn't seen this before, I just found it and hope it hasn't been posted, this is a video of Anton Corbijn talking about the video. http://www.youtube.com/watch?v=MrbluLIiSpY&feature=related From what he says it really was the original video for Enjoy the Silence that inspired this song, so is seems that everyone here has been too narrowminded about it, trying to tie it to a specific historical event. This video also explains why his version (which I personally liked better) wasn't realeased outside of the internet.

There should be a poll at the top of this thread

I also love how Chris just accepts it after Jonny says that.

Coldplay's frontman has rediscovered his passion - he may even be enjoying himself. He talks about coming to terms with celebrity, and being just a little bit ‘gangsta' Two hours before showtime in Denver, a crack team of feng shui masters have been working around the clock to make Coldplay's “family area” a haven of zen security. Or that's how it seems. Low pastel lights, fine wines and wooden bowls with artfully scattered fruit adorn the place. If it weren't all being dismantled and recreated for tomorrow's show in Salt Lake City, you would want to stay here forever. Amid the impeccable serenity, Coldplay's “other three” - guitarist Jonny Buckland, bassist Guy Berryman and drummer Will Champion - are a triumvirate of calm. The only thing out of place here is the manic energy of Chris Martin. Could it be that Coldplay's frontman is nervous? Martin's last two British interviews were notable for the fact that he walked out of both without warning. And even though further inquiries concerning his marriage to Gwyneth Paltrow or their children Apple, 4, and Moses, 2, would almost certainly make it three in a row, Martin seems more interested in exploring the semantics of what constitutes a walk-out. “Hey man, isn't it a bit harsh to say I walked out?” he says, before looking to Buckland for back-up. “If you come back two minutes later [as he did when The Observer asked him about Paltrow] is that a walk-out? Strictly speaking?” But Martin's desired response doesn't materialise. “I think it sort of is,” says the guitarist - to which a chastened Martin says, “OK. Fine. I'll take it.” In fact, he couldn't be more different to the prickly singer who, in May, revealed that he felt like he was about to be “fed to the lions”. When he says he's homesick, I ask him if there's anything he can get in Britain but not America. The words barely leave my mouth before a response leaves his. “Laid,” he beams. “Oh, and maybe a Toffee Crisp.” Is there any truth in recent tabloid reports that Coldplay have two years left in them? Not really, says Martin - although the singer stops short of an outright denial. “I've got some strange superstition about trying to write as many songs as possible before I reach 33. And I'm 31 now. It's more about imposing deadlines on myself.” If, in the past six months, Tigger has rediscovered his bounce, it might have something to do with the reception that finally met Coldplay's fourth album. Since its release in June, Viva La Vida or Death And All His Friends has made them the biggest band on the planet, averaging more than one million sales a month - propelling them to No1 in 36 countries. If critics were slower to acknowledge Coldplay's achievement, that might have been because Viva La Vida was a reinvention that - on first inspection - seemed to stretch credulity. Enlisting Brian Eno to help rebuild their sound with woozy violas, dulcimers and feverish flamenco rhythms, the end result erased almost all the things that Coldplay's detractors found annoying: the palliative vagueness of the lyrics, the sense that Buckland, Berryman and Champion were there to tastefully fill out the space around Martin's melodies. Even Martin himself had found a reptilian new baritone on Yes. I confess to Martin that since meting out a lukewarm three stars to Viva La Vida, it's become my favourite record of 2008. In recent months, it's been the album I've listened to when I go out on my morning runs. Martin, who gave up running because it conflicted with his yoga, places his pristine trainers on the table. “Where do you live? Crouch End?” he asks, for reasons that will later become clear. “Did you know Guy ran the London Marathon this year?” How did he do? Martin speaks on his behalf: “He came in the top 2,000... an accurate reflection of our musical standing at this moment. Right now, I would say that we're definitely one of the world's top 2,000 British soft rock music acts.” Martin's droll whimsy notwithstanding, nothing quite prepares you for just how pan-generationally adored the band, who met as freshers at University College London in 1996, are over here. America loves Coldplay, even if, at times, it struggles to understand their humour. Martin talks about introducing a song by saying that Barack Obama's would-be nemesis Joe the Plumber wrote it. “Every night I say it, and every night, no one laughs.” On election night, after they played a show in Atlanta, Martin says he shed a tear when Obama said, “I dedicate this night to the love of my life” - “but then”, adds the singer, “I cry at The X Factor. I cry especially at The X Factor. If you don't cry at The X Factor, you're not human.” No prizes, then, for guessing what Martin will be doing in the hour before Coldplay opens its UK tour in Sheffield tomorrow evening. If the presidential election gave Coldplay a first-hand opportunity to witness America become a saner place, reports from back home suggest that the opposite is true of Britain: “We were supposed to appear on Jonathan Ross. Then someone mentioned something about Manuel. Can you explain it to me?” I try. When I get to the bit about Ross telling Andrew Sachs that Russell Brand had sex with his granddaughter, Martin grimaces. “He said what? To be fair, we've done a lot of interviews at the BBC and it feels like a bunker in there. You forget there are people out there listening. You're oblivious to the outside world.” Where Coldplay are concerned, shutting out the outside world has been a more difficult task to accomplish. Featuring archetypal signifiers of the Coldplay “sound”, Clocks and The Scientist, 2002's A Rush of Blood to the Head was the album that saw the group go global. But with their new status, came higher expectations. When the group delayed the release of X&Y in 2005 only to see EMI's share prices go down as a result, a stressful situation became almost unmanageable. “We felt like we had to make music that would fill stadiums,” Berryman admits. If your twenties are spent establishing formulae to help you to understand the world, the ensuing years are surely about accepting the limitations of those formulae. In pop, far from facilitating genius, formulae eventually turn you into your own tribute band. Wasn't this the problem faced by Coldplay with X&Y? Even the title seems to allude to it. Buckland, 31, thinks so. “When you start off, you feel like you've discovered those rules. Once you've used them again though, you realise it's a dead end.” As a U2 fan, Martin won't have been oblivious to Brian Eno's pedigree when it comes to helping bands to rethink the way they create. According to the producer, Martin and Paltrow found themselves having lunch with Eno. After fruitless hinting from Martin, Eno says it was Paltrow, on Martin's behalf, who asked Eno to produce the record. What became apparent to Eno was that, for such a huge band, Coldplay were unused to playing in the same studio together. “That was the first thing that Brian [Eno] got them to do,” says one source close to the band, “get them sounding like a group again.” More than any other member of Coldplay, it makes sense to hear Martin - the son of an Exeter caravan retailer - exalting what happens when they get together. Increasingly for him, Coldplay is an iron lung, a place where the paraphernalia of celebrity holds no currency. More than anything he says, this is what makes it hard to believe those Coldplay “split” rumours. And while he wouldn't be so crass as to write songs about his “situation”, it's sometimes hard not to glimpse the paranoias and preoccupations of the reluctant celebrity rising. Not least in the characters that Martin chooses to inhabit. On Viva La Vida's title track, he writes from the perspective of a deposed dictator reduced to “sweep[ing] the streets I used to own”. Discuss. “For what it's worth,” he says, “I see that song as being really positive. It's more like a turning-over-a-new-leaf kind of song. Like, I f***ed up, and I don't mind being punished, but I can get redemption.” But isn't that the point? The only fantasy left for the man with everything is one in which he loses it all. Has he ever seen the appeal of doing a Reginald Perrin - like John Darwin, who, in 2001, faked his own death in an supposed canoe accident? Martin furrows his brow, apparently deep in thought. “There's been a few times on the Serpentine where I've thought, ‘I'm gonna ditch this pedalo and run away to Brighton'. Does that count?” You wonder if Alan McGee (the Scots music mogul) ever feels embarrassed by the verdict he passed on Coldplay in the wake of their 2000 debut Parachutes, when he described it as “bedwetters' music”. McGee's comments seemed more than a little ironic in June when his chum Noel Gallagher was turned into the Glastonbury village idiot, on account of Jay-Z's masterful appropriation of Wonderwall. Of all the musicians to emerge from Britain in the past decade, it's Martin - public school-educated, first-class graduate in Ancient World Studies - that America's hip-hop tycoon wants to hang with. After Martin's 2006 cameo on Jay-Z's Beach Chair, the new expanded version of Viva La Vida sees the rapper return the favour with a cameo on a new version of Lost. Next summer the two co-headline Wembley Stadium. Can Martin see why his friendship with Jay-Z fascinates people? “Yes, but there's nothing strange about it. What do we chat about? We chat about how Robert Kilroy-Silk is doing on I'm A Celebrity..” I suggest that the fascination has something to do with the perceived bling/ “bedwetter” interface. Their friendship that suggests there's a bit of sensitive indie kid in Jay-Z and a little bit of gangsta in Coldplay. “I see what you're saying - that he's like a turkey with stuffing in the middle, but Coldplay are more like a hotdog with the bread on the outside. It's fun to be friends with different people. You should call the editor of The Source. I'm sure you'd be great friends.” A knock on the door. Having gradually allowed the sofa to all but absorb his nervous energy, a relaxed Martin is told that if he wants to eat before the show, he needs to do so now. “We've been playing the same set for a while and it really feels like it's flying,” says Champion, a man with a stare which, when his three children are older, will surely have them tidying their toys in three seconds flat. However, by the time the show has climaxed with the nightly but still breathtaking release of a million paper butterflies, it's notable for two exceptions. For the first time in weeks, there is no allusion to Joe the Plumber. The second deviation is something I only learn about later, when a sweat-soaked Martin - still in his quasi-French revolutionary “work” clothes - returns backstage. “Did you get it?!” he asks me. Did I get what? “The lyric in Cemeteries of London! I changed it to “...we go running through Crouch End!” The next day, I check on YouTube. The imagery of Coldplay's most beautiful song - written one sleepless night last year when Martin took a walk in the deserted streets around St Paul's Cathedral - has indeed been bastardised to incorporate visions of fat writers panting around North London. Back in Denver, I don't know whether to thank him or apologise. But Martin has moved on. “Tonight was also the first time I ripped my trousers. I aspire to ripping my trousers. It shows I'm enjoying myself.” It seems he really is. Celebrity is a word he continues to hate. Fame, though - even Chris Martin will acknowledge that fame has its perks. “Last year, in an attempt to impress my family I tried to cook some fish and peas, but I forgot to turn on the vent. And the thing about our fire alarm is that it's connected to the fire station. So the fire engine comes around, and I was in a panic. I said, ‘Guys, I'm sorry. There's no fire'. Then, two months later, I said, ‘Right - I'm gonna have another crack at this' - and the same thing happened. Just as I'm running outside, the fire engine pulls up and the fireman says: ‘Have you been cooking again, Chris?' So then I had to take a walk because I was a bit shaky. As it happened, the fire engine was going the same way, and they said, ‘Do you want a lift?'” “There are good days and not so good days, you know? But, the thing is...” Long pause. “I got to have a ride in a fire engine. How cool is that?” http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article5246750.ece

Today I was listening to the radio and suddenly Chris came on saying: "Hello I'm Axel Rose from Guns N Roses, good friends of the band Coldplay from the UK and you're listening to channel 93.3" Have you heard any radio station ads like this one? if so what did they say?

Green Eyes, I just took a nap while listening to music with my headphones on. Woke up a quarter through Green Eyes and it was absolutely wonderful. Maybe it was the combination of it beaing completely dark, the music up loud, and being in that weird state of being half asleep, half awake but there was something really special about that song.

So still no rip picture? I didn't even notice it had hapened until he mentioned it and showed his taped pants up on the screen.

I was at the mall today and heard out of nowhere heard a guitar riff that kinda sounded like Chinese Sleep Chant, I didn't think that much of it because that song is not really a single so I must've been imagining things, but as I kept walking the the song got louder. Turns out a store called Brookstone really was plaing Chinese Sleep Chant, totally made my day!!!

I agree with you guys, the crowd this time was definately older. All of the people in my section were standing up the whole time, but only a couple of them were dancing or showing much enthusiasm, these were the younger ones.

The rip was fairly high up on the leg

Coldplay blends classic, edgy At the risk of echoing past reviews of Coldplay, it's really easy to forget what a good band it is. The songs all over the radio and on the group's four albums are so neatly tailored that it's always a refreshing surprise to see Coldplay live and be rocked, be it the early years at the Fillmore Auditorium or Friday night's show at the Pepsi Center. Granted, Coldplay salted the set early with hits, including the classic Clocks, which has become more muscular with age - largely because of drummer Will Champion, who happily doubled on guitar and vocals during acoustic songs. But the crowd was down with everything from the first note, be it album cuts or the single When I Ruled the World. In a moment of time when the news seems to be unrelentingly bleak, there's a lot to be said for a packed auditorium of music fans singing lustily and joyously along with a strong set. It's also refreshing to see a band using common sense in the staging of a concert. Every high-tech bell and whistle was there - the gigantic big screen, floating picture orbs and enough lasers to make The Who very happy. But it was just used in a smarter way, with ramps extending into the audience near the front, and additional big-screens hung halfway back so the rear of the house felt intimate as well. They headed to the rear of the arena for another mini-set, starting with The Scientist. "This gives everybody at the front the chance to Blackberry their friends and say 'Gee, man, we overpaid,' " singer Chris Martin joked. Martin has steadily grown as a frontman, intense but jerky in his early days, relaxed and fun these days. He effortlessly commands the stage, where nothing feels forced or planned. He manages to convey a combination of goofiness and warmth, a far cry from the aloof image that the media has painted of him for his ambitious writing or the person he chose to marry. The band took the stage a bit later than planned, and at press time, encores still were ahead. If recent shows are any indication, the band's first hit, Yellow, was likely to have made up a big part of that. Jon Hopkins opened with a hypnotic electronic set, accompanied by animation on a big screen that was at the same time up-to-the-minute but also echoed the days of the old San Francisco psychedelic ballroom scene. He could have used a bigger screen, but fans were still surprisingly receptive to the edgy set. http://www.rockymountainnews.com/news/2008/nov/21/coldplay-blends-classic-edgy/

Someone needs to post pictures of Chris in Denver, his pants ripped up towards the end of the show, apparently its the first time it has happened during the tour.

It sure smelled like it

That was F***ing awesome!!! Just fot back home. Chris's pants had a rip in them unfortunately I didn't get a picture of that, I really hope that someone did.

Is this the first we've seen them do it live? I haven't come across this before http://www.youtube.com/watch?v=mxbkmPPKfpQ&feature=channel

THANKS a lot Jizo and Jaysimo!!!

Man, I really really should be studying, two important exams tomorrow.

PM please

By the way, does anyone know around what area they might do the acoustic section?

I wish I had been at the red rocks show, all of those pictures and stories I've heard about the show look and sound amazing. Unfortunately I only discovered Coldplay afterward.

Yeah, for some reason its the song I've been most curious about. After reading this review I'm finding it really difficult to contain my excitement.

Hot prospekt IF YOU thought COLDPLAY were just purveyors of precision-tooled, arena-slaying big rock ballads, you ain’t heard nothing yet. Their new Prospekt’s March EP, which I’m the only journalist on the planet to have heard, is their most wildly eclectic offering to date. Thumping hip-hop jams, thundering metal workouts, Indian tablas and colliery brass bands all jostle for space on their brilliant, bold and, at times, bonkers eight-tracker. I revealed back in August how the boys — frontman CHRIS MARTIN, GUY BERRYMAN, WILL CHAMPION and JONNY BUCKLAND — had recorded far more songs than they could fit on their most recent album Viva La Vida. They have since collected the tracks together and will issue them later this month. The EP kicks off in relatively conventional territory. Life In Technicolor ii is the opening instrumental from Viva La Vida with lyrics strapped on. Chris intones ominously about the end of the world, over the familiar, euphoric music. Glass Of Water, meanwhile, showcases a pulverisingly heavy and never previously heard side of the band. It reminds me of MUSE at their most epic. Synths scream over thundering drum crashes and molten axe-riffage. If only Chris still had his unruly mop of curls, they’d be perfect for him to head-bang along to this monster. Howls He howls about someone “spending their whole life living in the past, going nowhere fast”. Echoes of BECK’s landmark hip-hop album Odelay are writ large through Rainy Day. Chris confronts the pressures of life in the public eye while a funky Californian breakbeat and sweeping strings motor the track along.The title track is woozily psychedelic with guitars gently chiming and strings sweeping. Chris asks: “Don’t you wish your life could be as simple as fish swimming round in a barrel when you’ve got the gun?” Lost+ and Lovers In Japan (Osaka Sun mix) are both just moderately tweaked versions of tracks on Viva La Vida. But it’s the final track, Now My Feet Won’t Touch The Ground, which is the most audacious thing the lads have ever recorded. It begins in standard Coldplay ballad territory with delicate guitars and mysterious lyrics. Chris sings: “Push my bones from the highest cliff to the seas below/Swoop down from the sky and catch me like a bird of prey.” Then Indian finger drums and a swelling array of trumpets and tubas arrive to take the track off into an extraordinary place. It’s brilliant. As is this EP. It’s out on November 24, just five days before the lads hit the UK for their arena tour. Not to be missed. http://www.thesun.co.uk/sol/homepage/showbiz/bizarre/article1915267.ece Just found this review and it makes me incredibly excited for this song.

Hot prospekt IF YOU thought COLDPLAY were just purveyors of precision-tooled, arena-slaying big rock ballads, you ain’t heard nothing yet. Their new Prospekt’s March EP, which I’m the only journalist on the planet to have heard, is their most wildly eclectic offering to date. Thumping hip-hop jams, thundering metal workouts, Indian tablas and colliery brass bands all jostle for space on their brilliant, bold and, at times, bonkers eight-tracker. I revealed back in August how the boys — frontman CHRIS MARTIN, GUY BERRYMAN, WILL CHAMPION and JONNY BUCKLAND — had recorded far more songs than they could fit on their most recent album Viva La Vida. They have since collected the tracks together and will issue them later this month. The EP kicks off in relatively conventional territory. Life In Technicolor ii is the opening instrumental from Viva La Vida with lyrics strapped on. Chris intones ominously about the end of the world, over the familiar, euphoric music. Glass Of Water, meanwhile, showcases a pulverisingly heavy and never previously heard side of the band. It reminds me of MUSE at their most epic. Synths scream over thundering drum crashes and molten axe-riffage. If only Chris still had his unruly mop of curls, they’d be perfect for him to head-bang along to this monster. Howls He howls about someone “spending their whole life living in the past, going nowhere fast”. Echoes of BECK’s landmark hip-hop album Odelay are writ large through Rainy Day. Chris confronts the pressures of life in the public eye while a funky Californian breakbeat and sweeping strings motor the track along.The title track is woozily psychedelic with guitars gently chiming and strings sweeping. Chris asks: “Don’t you wish your life could be as simple as fish swimming round in a barrel when you’ve got the gun?” Lost+ and Lovers In Japan (Osaka Sun mix) are both just moderately tweaked versions of tracks on Viva La Vida. But it’s the final track, Now My Feet Won’t Touch The Ground, which is the most audacious thing the lads have ever recorded. It begins in standard Coldplay ballad territory with delicate guitars and mysterious lyrics. Chris sings: “Push my bones from the highest cliff to the seas below/Swoop down from the sky and catch me like a bird of prey.” Then Indian finger drums and a swelling array of trumpets and tubas arrive to take the track off into an extraordinary place. It’s brilliant. As is this EP. It’s out on November 24, just five days before the lads hit the UK for their arena tour. Not to be missed. http://www.thesun.co.uk/sol/homepage/showbiz/bizarre/article1915267.ece

^I'm really sorry for your loss. I'm glad you reconsidered, surely Coldplay will make you feel at least just a little better. :)

Thanks, I'll try that.