One of my top 5 bands easily. My favorite albums are probably:
Selling England by the Pound
Nursery Cryme
Foxtrot
Duke
Wind and Wuthering
Ditto on No Reply at All being awesome. I love the EWF Horns in that song.
If you like Phil Collins-led Genesis, as you seem to, definitely check out Phil's solo stuff. Face Value is an awesome album.
One of my top 5 bands easily. My favorite albums are probably:
Selling England by the Pound
Nursery Cryme
Foxtrot
Duke
Wind and Wuthering
Ditto on No Reply at All being awesome. I love the EWF Horns in that song.
If you like Phil Collins-led Genesis, as you seem to, definitely check out Phil's solo stuff. Face Value is an awesome album.
I do like Collins Genesis. Pop or not, they wrote good songs. I still prefer the proggier Gabriel era though
I've only heard the albums from Trespass to Wind and wuthering. I would rank them like this:
1. Nursery Cryme
2. Selling England by the pound
3. Foxtrot
4. Wind and wuthering
5. A Trick of the tail
6. Trespass
7. The Lamb lies down on Broadway
I'll listen to the rest when I get time, but these are some quality prog rock albums that I really enjoy. I'm listening to Blood on the rooftops at the moment, and it's wonderful.
Actually, my favorite album by them is Wind and Wuthering. I love the "transition" sound they had from Trick of the Tail through Duke, where they were best described as either proggy pop or poppy prog.
Amazingly amazing band that is amazing. Nursery Cryme -> Wind and Wuthering = Amazing albums that are amazing.
/thread
Actually, my favorite album by them is Wind and Wuthering. I love the "transition" sound they had from Trick of the Tail through Duke, where they were best described as either proggy pop or poppy prog.
This is my favorite period as well, though every Genesis album is great in its own way. Most of them are great in several ways. Bearded Phil for the win!
An ex-girlfriend asked me to play the organ at her wedding, and she asked if I could play "Follow You, Follow Me". Of course I said "Yes"...
... "Follow You, Follow Me" got nixed by the girl's mom. Apparently, traditional Catholic weddings have no room for rock music. I don't know; I'm not Catholic.
I think the HOF is looking more at the Collins-trio era. I'd love to see whatever presenter begin their intro with "Their first album, 'And Then There Were Three...'" and then look shocked when Peter Gabriel and some weird guitar guy jump up on stage with them.
I've been on a Genesis kick... in the last two months, I've bought 3 albums (Foxtrot, Nursery Cryme and Selling England). Favorite by far is Nursery Cryme.
I think of the post-Duke albums, the S/T album is probably my favorite, with We Can't Dance following. Invisible Touch is fantastic if only for the number of hit songs that album generated. (title track, Land of Confusion, In Too Deep, Tonight Tonight Tonight, Throwing it All Away)
Nah, not really worth it. It's kinda interesting really. Genesis started out with an album not worth bothering with, and ended with one.
rumborak
I'd just like to say that out of everything on Calling All Stations, Congo is the only song I can bear.
An ex-girlfriend asked me to play the organ at her wedding, and she asked if I could play "Follow You, Follow Me". Of course I said "Yes"...
... "Follow You, Follow Me" got nixed by the girl's mom. Apparently, traditional Catholic weddings have no room for rock music. I don't know; I'm not Catholic.
Funny you should say that. Indeed us Catholics frown upon secular music in the sacred liturgy, but my parents snuck it into their wedding as a prelude anyway. There was a hymn in the book apparently called "Follow You" or something like that, and they told the priest that was the song.
My parents FTW.
It would have been. I had an arrangement all figured out, ready to go, when I got the news. I wasn't even invited to the wedding, since her parents were really strict and only Catholics were allowed to attend. Yet another reason why organized religion can really be the suck.
I heard Squonk on commercial radio once
at first I was :|
And then I was :D
"Ripples", "Entangled", and "Mad Man Moon" all have somewhat long, mellow instrumental passages, so maybe that's what's sounding like Pink Floyd to you. "Ripples" and "Entangled" especially, with the keyboards and guitars playing off of each other.
I heard Squonk on commercial radio once
at first I was :|
And then I was :D
I put it between "Mad Man Moon" and "Robbery, Assault & Battery", but just because there's no official place for it, so I put it between Side One and Side Two. That's my default place for bonus tracks when no obvious placement makes sense.
After listening to "Los Endos" so many times, I still keep expecting the percussion to come in when it gets to the closing section of "It's Yourself". But what is this extra verse? I have a version from way back - I think it was in one of the Archive sets - and also the Nick Davis remaster, but never compared them. Or is there another version out there?
Agreed. I always found it somewhat funny, even odd, that the title track is the weakest track on the album.
It's a catchy enough song, and I don't dislike it. It's just so... average. Verse, verse, bridge, verse. It's a "regular" song, the only one on the album. (Squonk comes close, but its coda section saves it.)
Agreed. I always found it somewhat funny, even odd, that the title track is the weakest track on the album.
Instead, the drummer took over lead vocals and they just carried on, seemingly without missing a beat. It was a "trick" they pulled off quite well.
I love the ''Follow me, I'll play the game you want me...'' part, it's lovely. My 2nd favorite on Wind and wuthering, right after Blood on the rooftops.
I love the ''Follow me, I'll play the game you want me...'' part, it's lovely. My 2nd favorite on Wind and wuthering, right after Blood on the rooftops.
God, thank you, Blood on the Rooftops does not get the love it should. Great closer to W&W.
but "The Cinema Show" on Selling England... is just Godly.
This has changed since the Nick Davis remasters. I picked up the first two boxes a couple weeks ago when Amazon accidentally dropped their prices to $13.99 each...
We watched in reverence
As Narcissus is turned to a flower...
(https://blog.newsok.com/staticblog/files/2009/09/Peter-Gabriel-2.jpg)
A flower?
I love that part :D. Whenever I listen to that song, I always say "A Flower?" along with Gabriel.I love the section that comes after ''A Flower?'' part. It's just unbelievably good. :hefdaddy
I love that part :D. Whenever I listen to that song, I always say "A Flower?" along with Gabriel.I love the section that comes after ''A Flower?'' part. It's just unbelievably good. :hefdaddy
Question: Are these box sets worth the full price? I was thinking of getting them at some point.
AND ITSFAIL!
Hey babe, with your guardian eyes so blue
I listened to Selling England by the Pound last night for the first time in ages. I know I'm going to sound like Captain Obvious here but...:hefdaddy
... That record is soooooo good.
I listened to Selling England by the Pound last night for the first time in ages. I know I'm going to sound like Captain Obvious here but...(https://stevescars.digitaloutsider.org/captain_obvious.jpg)
... That record is soooooo good.
I listened to Selling England by the Pound last night for the first time in ages. I know I'm going to sound like Captain Obvious here but...
... That record is soooooo good.
Whatever lineup they're inducting, Genesis definitely deserves the honor. Not that I hold a very high opinion of the HOF in the first place.This. Exactly this.
Peter has stated that he would not want to perform, because they learned last time that you can't just get up there and do it after decades away from it. You have to rehearse, and he's prepping for his own solo tour right now. He said he might try to make it if his rehearsal schedule allows it. (In other words, it doesn't mean much to him, not enough to blow off a couple days' rehearsal.)
I haven't heard anything from Steve regarding it, but I would be surprised if he gave a damn, either. Artists with actual merit and talent know that the RRHOF is a joke. They'll go if they're not doing anything else that night, otherwise why bother? They don't have an album to promote right now, they aren't going to play, and they honestly don't care about the "honor".
Great musician/composer or not, you don't stay in a band for 30 years with someone who's literally no fun to be around.
Great musician/composer or not, you don't stay in a band for 30 years with someone who's literally no fun to be around.
So when are John Petrucci and Mike Portnoy leaving Dream Theater to get away from John Myung? :p
I've never really listened to Genesis before, and I don't typically like bands from their era so I pretty much just blew them off. But today I saw their name and decided to give them a try.
I put their name into youtube and picked the first video that caught my attention. It was "No Son of Mine". I thought it was pretty cool, but I could not get over how horribly loud the snare drum is.
I've never really listened to Genesis before, and I don't typically like bands from their era so I pretty much just blew them off. But today I saw their name and decided to give them a try.
I put their name into youtube and picked the first video that caught my attention. It was "No Son of Mine". I thought it was pretty cool, but I could not get over how horribly loud the snare drum is.
It's one of my favorite drum sounds. Phil Collins practically invented the gated snare and defined the entire 80's drum sound.
"Driving the Last Spike" is definitely a killer tune, as is "Fading Lights" from that same record (which also features one of the most God-awful songs ever, "I Can't Dance").
I've never really listened to Genesis before, and I don't typically like bands from their era so I pretty much just blew them off. But today I saw their name and decided to give them a try.
I put their name into youtube and picked the first video that caught my attention. It was "No Son of Mine". I thought it was pretty cool, but I could not get over how horribly loud the snare drum is.
It's one of my favorite drum sounds. Phil Collins practically invented the gated snare and defined the entire 80's drum sound.
Duke is awesome. It was the first CD I ever bought.
FGTR is such an anomaly in the Genesis catalog, but it is also a very good freshman effort by a fledgling band. Jonathan King may be a crook (and that is a maybe), but he did see something in these guys, and must be credited for giving them their break, such as it was.
What other albums should I be checking out first and foremost? (My father owns most of their stuff on vinyl I have everything from Trespass through Abacab here at hand.)
What other albums should I be checking out first and foremost? (My father owns most of their stuff on vinyl I have everything from Trespass through Abacab here at hand.)
The Lamb Lies Down on Broadway
A Trick of the Tail
Wind & Wuthering
Listened to The Lamb Lies Down on Broadway today and I can safely say it was one of the best albums I've ever heard. Holy shit it was mindblowing.
Listened to A Trick of the Tail today. Good stuff! I love the melody reprisals in the last song, it was a great way to close the album. My favorite track was "Ripples".
What else DTF? Getting into this band super big time haha
So far I've listened to..
Nursery Cryme
Foxtrot
Selling England By the Pound
The Lamb Lies Down on Broadway
A Trick of the Tail
Duke
My rankings so far..
1. The Lamb Lies Down on Broadway
2. Selling England By the Pound
3. Duke
4. A Trick of the Tail
5. Foxtrot
6. Nursery Cryme
That being said, I still LOVE Nursery Cryme. I'm gonna take the advice of DTF and check out W&W next.
Alright.. listened to a few more Genesis albums recently
- From Genesis to Revelation
- Wind & Wuthering
W&W is freakin' brilliant! Totally blown away by it and I was compeltely surprised at that, seeing as ATotT didn't really blow me away, even though I really enjoyed it.
Here are updated rankings:
1. The Lamb Lies Down on Broadway
2. Selling England by the Pound
3. Foxtrot
4. Nursery Cryme
5. Wind & Wuthering
6. Duke
7. A Trick of the Tail
8. From Genesis to Revelation
That being said, I have really enjoyed all of the albums by them that I've heard. As you can see Foxtrot and NC grew on me a lot and thus moved up.
My plans for the next few albums to check out are Trespass, Genesis Live and Seconds Out. After that I'll dig into the Collins-led era more deeply.
Well I still have to go to ...And Then There Were Three, so I'll probably check that one out first.
Well I still have to go to ...And Then There Were Three, so I'll probably check that one out first.
seconds out is fantastic
Who pays full price for CD's online?
I don't
For anything else, you have to go online, and that usually means paying full price.
Hmmm... if this is true, I may someday buy CDs online again. Five years ago, that definitely wasn't the case. Amazon was known for their huge selection, but you always paid for it, which is why I chose to complete all my back catalogues via alternative means.
For anything else, you have to go online, and that usually means paying full price.
And that means, for me at least, you don't get to go to record stores and walk out with the albums you were looking for. That to me is almost as important as having the physical product. :-\
Guys, I have the best theory about "The Cinema Show". Basically, the lyrics are about two people getting ready for there date. Romeo wishes to "go to bed with" Juliet, so he is hoping for some action. Basically, the middle part with the beautiful vocal layerings is the date, and how great it is going.. Maybe how well they enjoyed the movie. Then the pace changes. They arrive at Juliet's house, and they proceed inside, and as they walk in, the keyboard solo starts.. for you see, the keyboard solo is the sex. :police:
hahaha
:hat :hat
is there a quintessential song that is recommended that says it all about them?
I am buying selling england right now...I never have given them a try other than a few of their radio hits. we will see how it goes
is there a quintessential song that is recommended that says it all about them?
is there a quintessential song that is recommended that says it all about them?
"Firth of Fifth."
Firth Of Fifth is definitely one of the best songs on SEBTP, but I like The Cinema Show a tad better. Tony Banks's keyboard solo is just godly.
Firth Of Fifth is definitely one of the best songs on SEBTP, but I like The Cinema Show a tad better. Tony Banks's keyboard solo is just godly.Best 7/8 section in history of music!
But I want to see Genesis live :(
But I want to see Genesis live :(Me too, and now I'm never gonna see them live... I'll never be open again.
But I want to see Genesis live :(Me too, and now I'm never gonna see them live... I'll never be open again.
Speaking of 80s Genesis, what do you guys think of Invisible Touch as a whole?
Speaking of 80s Genesis, what do you guys think of Invisible Touch as a whole?
Speaking of 80s Genesis, what do you guys think of Invisible Touch as a whole?
Speaking of 80s Genesis, what do you guys think of Invisible Touch as a whole?
I've got an odd question - is the post-Hackett era worth listening to?
I've got an odd question - is the post-Hackett era worth listening to?
Speaking of 80s Genesis, what do you guys think of Invisible Touch as a whole?
Eh. Its got some good songs, but songs like "in Too Deep," "The Brazillian," "Anything She Does," and "Invisible Touch" can get annoying. "Land of Confusion" and "Domino" are great.
Invisible Touch is the weakest Genesis album of all. Their debut when they were still in high school was better, and I think my son's third grade band concert CD is even better. One time I dropped a wrench on the basement floor and it made a clattering sound that was somewhat rhythmic and kinda cool how it alternated between the two notes. I wish I'd recorded it, because it was actually more musically interesting than Invisible Touch.
Land of Confusion is an amazing song
I really don't like the fact that one of my favorite bands has an album that I really hate that much, so I'm listening to Invisible Touch again, with an ear towards finding the good, while trying to ignore that which bothers me. I have every studio album, most of their live albums, and a bunch of boots. I really do love this band. But man... what the fuck happened to them later on?
I've gotten through "Land of Confusion" so far. When I'm done, I will listen through everything a second time, then post a (hopefully) balanced review here. I'm sure you guys can hardly wait.
I really don't like the fact that one of my favorite bands has an album that I really hate that much, so I'm listening to Invisible Touch again, with an ear towards finding the good, while trying to ignore that which bothers me. I have every studio album, most of their live albums, and a bunch of boots. I really do love this band. But man... what the fuck happened to them later on?
I've gotten through "Land of Confusion" so far. When I'm done, I will listen through everything a second time, then post a (hopefully) balanced review here. I'm sure you guys can hardly wait.
Looking forward to your updated review, Orbert. :)
Also, I probably need to get around to rechecking out Duke. I tried it many years ago, and it didn't do much for me, but a lot of fans seem to really like it, so it might be time to give it a few whirls. Sadly, it was one I bought and then sold off in one of those "I need to sell the CDs I am not crazy about" moods I was in, so I no longer have it. Damn it.
Also I don't care what Orbert says; No Reply At All is AWESOME.
Amazingly, I don't hate Love Beach. Sure, the cover is LOL silly, but it is what it is, an album of leftovers of leftovers released because Atlantic wanted another ELP album out there and ELP hadn't recorded anything new in a while. I really like Works, Volume One, and there are some decent tracks on Works, Volume Two: The Leftovers. But Love Beach was literally scraping the bottom of the barrel. Still, "Memoirs of an Officer and a Gentlemen" isn't horrible.
Full disclosure: ELP was my favorite band at the time, and Love Beach helped change that. But it was time to move on anyway.
Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.
Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.
Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.It's funny how most of the songs sound nothing like pop.
I held off buying We Can't Dance for a while, because Invisible Touch was so bad. I remember standing in a record store looking at it, and on the back cover were listed 12 songs, and to me that meant another batch of short, radio-friendly tunes. I eventually picked it up, because I had every Genesis album to date; how could I not complete my collection?
I was pleasantly surprised when I finally listened to it. I'd forgotten the "CD factor" - that 12 songs meant an average song length of 6 minutes, not four, so factor in the radio-friendly garbage, and there were a couple of good album tracks buried in there. Yeah, it's got a bunch of those annoying, poppy songs, but at least they broke out a bit. "Driving the Last Spike" was their last great story-song, the history of British Rail. "Dreaming While You Sleep" is understandably disliked by many, but I think it's brilliant. A study in guilt and human nature, something that could happen to anyone, and if you don't think it could happen to you, just hope you're never in a position to find out what you would do in that situation. And "Fading Lights" despite its straightforward structure at least gives us a longer track with an extended instrumental break, and it's a beautiful song, a great closer.
Have before. It's okay.Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.
DUKE.
DUKE.
LISTEN TO DUKE.
Most of it does to me.Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.It's funny how most of the songs sound nothing like pop.
Beside the singles, no, not really.Most of it does to me.Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.It's funny how most of the songs sound nothing like pop.
Have before. It's okay.Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.
DUKE.
DUKE.
LISTEN TO DUKE.
Have before. It's okay.Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.
DUKE.
DUKE.
LISTEN TO DUKE.
Listen to it again with an open mind. Some beautiful compositions on that record, and you shouldn't be missing out on it just because its not a Gabriel led album.
Two of the twelve tracks hardly equals half the songs. "Misunderstanding" is depressing, plus it got overplayed on the radio, but I actually like "Please Don't Ask". Anyone who's been through a divorce or just a bad breakup would be able to relate to it. (I've actually been through neither, but I find the perspective of the protagonist to be realistic and kinda cool.)
I did listen to it with an open mind. As I said, it's okay. Which means 3 out of 5 for me.Have before. It's okay.Meh. I'm not a Collins-era fan at all. Almost all pop doesn't appeal to me for some reason.
DUKE.
DUKE.
LISTEN TO DUKE.
Listen to it again with an open mind. Some beautiful compositions on that record, and you shouldn't be missing out on it just because its not a Gabriel led album.
Just chiming in to say that Fading Lights is an amazing song and definitely one of their best album closers. I really, really love Tony Banks's long keyboard solos (not just in this song).
True. Phil's first two solo albums were great. I picked up No Jacket Required as well, and could already feel things starting to turn, so I stopped with the solo Phil.
Zy, ever hear the version of I Know What I Like by GTR?
Zy, ever hear the version of I Know What I Like by GTR?
No I haven't. Is it good?
Peter Gabriel era: Selling England By The Pound, Foxtrot
Phil Collins era: Duke, A Trick Of The Tail
You won't regret it.
:bump:
So... someone wanna recommend me a couple Genesis albums? At least one Peter Gabriel led album and one Phil Collins led album... finally breaking down to check them out but I dont know where to start...
Bump
I was just thinking about this a few days ago. What would the seminal album by Genesis be? Everyone talks about Close to the Edge being Yes' landmark album. I would guess Foxtrot would be Genesis', just because of Supper's Ready.
Damn, Jaq, I've been listening to Genesis for 35 years and pretty much agree with everything you just said.
Personally, Invisible Touch is my least favorite Genesis album after the debut, but that's mostly because the pop tracks were all overplayed on the radio and I really don't like any of them, and the "prog" tracks are too obviously (1) a regular song padded out by an extended middle jam which is your typical Banks series of vignettes and (2) two shorter songs glued together. Even the instrumental is a typical Genesis instrumental; that is, a theme-and-variations thing, not a "real" instrumental in the sense that it actually goes anywhere.
But honestly, for all that, what you said about the album is true, and it is widely regarded as their best latter-day album. It's certainly not their fault that I don't really like it.
I must be the only person in the universe who actually likes Illegal Alien. It's catchy and fun. Oh well.
(https://24.media.tumblr.com/tumblr_m3xdunZ2BG1qjwhroo1_250.jpg)
Yep, Illegal Alien is a good tune, and the video always cracked me up. The hate it gets from the diehard Genesis prog heads is laughable.
Sometimes I think the best thing Gabriel ever did was leave and pursue a solo career.
Sometimes I think the best thing Gabriel ever did was leave and pursue a solo career.
It was.
Am I the only one who prefers Foxtrot to Selling England?
I love "Firth of Fifth" and apparently I'm about the only person who likes "More Fool Me" but that's about it from Selling England by the Pound for me. "The Cinema Show" is a great song, but having grown up with the Seconds Out version, I'm always disappointed when they get to the end and it fizzles down into the segue/reprise rather than building up to that amazing coda.
Foxtrot, meanwhile, is awesome and consistent all the way through. I like every song on Foxtrot.
I like Foxtrot more than Selling England.
I like Foxtrot more than Selling England.
I love you.
Yeah, I'm a music geek.
Phil's groove in Cinema Show right before and during Tony's solo (and that part too) is my favorite 7/8 moment in music.Oh yea I love that bit.
Might be a controversial opinion, but I love Selling England, it is my favorite Genesis album. It was my intro to Gabriel era Genesis and it just blew me away. The way it flows as a whole is so unique to me, none of the other albums give me the same feeling. Firth of Fifth has an amazing instrumental section, the way the guitar reprises the themes played by the flute... :hefdaddy And I'm a sucker for Gabriel's flute playing.
Ah nevermind then, for some reason I got the idea it was considered a lesser album compared to other Gabriel stuff.
Might be a controversial opinion, but I love Selling England, it is my favorite Genesis album. It was my intro to Gabriel era Genesis and it just blew me away. The way it flows as a whole is so unique to me, none of the other albums give me the same feeling. Firth of Fifth has an amazing instrumental section, the way the guitar reprises the themes played by the flute... :hefdaddy And I'm a sucker for Gabriel's flute playing.
That is not controversial at all, as it seems like most hardcore Genesis fans consider that one of their best albums, with many of those considering it THE best album the band ever did. So, no, not controversial at all. :)
I actually rate ATTWT a lot higher than most, mainly because it's the first Genesis album I ever owned and I love it to death for that reason, but I do admit the band was figuring out what the limits of their sound was now as a trio and that's why the album feels transitional. By Duke they knew what they could do and wrote accordingly.
Well, the CD is on Amazon for 12 bucks, so it's out there.
Just listened to it today (The lamb...). Hasnt really sunk in yet, but that was quite a departure from the previous albums, I thought. I know its sort of a conceptalbum, but the songs are a lot shorter than on the previous records. I also find it amazing that they seemingly bounced right back after Gabriel left.Yeah, it's quite different. I personaly adore it and would probably place it as my favorite Genesis albun. Then again I can certainly see why some people wouldn't like it.
And yeah, you can clearly hear where Marillion got a lot of their influences from.
And yeah, you can clearly hear where Marillion got a lot of their influences from.
The live version is very good, and everything flows better because it's being done live and, well, it has to flow because it's basically one continuous "take". But it's hard for me to rank it above the studio version, which I've been listening to for over 30 years. Different versions of the same material, each with their strengths.Can't really argue with that ;)
Anyone else here like the Genesis Archives live show of the lamb lies down more than the original? It just feels more powerful with less weird effects. In fact, I deleted the studio version of the lamb off my iPod because I just enjoy the live recording so much more. Anyone else get that feeling or am I insane?Me too! I'm not even a big fan of the album but that live show is nothing short of awesome!
I love both, but that live version rocks so damn hard. For a while after hearing it, it took me ages to get back into the original, but I do love that still too.Yeah I'm not saying the original is bad, but whenever I listen to it I think "I'd rather be listening to the live version right now" ^^
Yar, I know that feel exactly. It's just slightly freer and just feels like the loud bits are allowed to go all-out. Fly On A Windshield especially is brilliant as a live song.Well I'm glad I'm not the only one who thinks this way
I've only heard a handful of songs by Genesis, but I've been meaning to explore more. Where should I start?In my opinion, the best Genesis you'll find is from Foxtrot, Nursery Crime , and Selling England By the Pound. Those three albums are near perfect. Also good are The Lamb Lies Down on Broadway, Trespass, Trick of the Tail, and Wind & Wuthering. After that the albums start to get a little to poppy for my taste. If you're exploring Genesis for the prog side of things, definitely go with the first three I mentioned. You won't be disappointed!
And Then There Were Three is so underrated it hurts. To me,that album is up there with Wind And Wuthering.I should probably give it another try. My first listen was long time ago and I was like "this sounds nothing like SEPTP" and so I never explored it further. I'll have to give it a shot.
Nope. I think Selling England is the weakest Gabriel era Genesis album aside from the debut and Foxtrot is one of my favourite albums.Sometimes I think the best thing Gabriel ever did was leave and pursue a solo career.
It was.
Am I the only one who prefers Foxtrot to Selling England?
I've only heard a handful of songs by Genesis, but I've been meaning to explore more. Where should I start?
You know, I can't think of a single Genesis instrumental I don't like.The waiting room?
And what's even more interesting, they have exactly the same musical lineup as DT, their instrumentals were never cluttered. Banks was often perfectly content to play a single melody line, and Hackett would just play a single guitar bend to accentuate a chord.
Home By The Sea + Second Home By The Sea are the best post Gabriel-era songs imo. Today at least. :lol
That's only Gabriel-era though. Domino is an excellent tune, so is Duke's Travels and Second Home By The Sea.
Duke is my favorite Genesis album. I think overall, I like the five-piece band, but while I don't consider any of it "farting around", I think I know what you mean. There was definitely a lot more experimentation, and with experimentation thiings can be hit or miss. It's the misses the bring things down a bit overall. The three-piece band, and even the four-piece, were very consistent IMO. Duke for me is the best of both worlds. Solid, concise, but also kinda proggy and not blatantly poppy either.
The only complaint I have about Duke is that "Misunderstanding" doesn't really fit in with where it shows up in the album. It's a good song, but sound-wise, it's kind of inconsistent where it is if you're listening to the whole album. They should have stuck it either at the beginning or the end, and made the Duke suite more continuous.
Yeah, I was really just going through the albums and picking every love/whiny song :lolThat's what I figured. For a long time, I thought Your Own Special Way was written by Phil, too.
While he was actually alright in Genesis, once he did solo stuff, his whiny songs got out of control. Some albums are half just love songs.Also true. Without the other guys to keep him in check, he went nuts. But art reflects life, and his personal life has been shitty for quite a while, especially in the love department. Also, whiny love songs sell.
Also, whiny love songs sell.
Watching this concert right now:
https://www.youtube.com/watch?v=YbNo14hMuU8
Just plain amazing.
Yeah, I was really just going through the albums and picking every love/whiny song :lolThat's what I figured. For a long time, I thought Your Own Special Way was written by Phil, too.While he was actually alright in Genesis, once he did solo stuff, his whiny songs got out of control. Some albums are half just love songs.Also true. Without the other guys to keep him in check, he went nuts. But art reflects life, and his personal life has been shitty for quite a while, especially in the love department. Also, whiny love songs sell.
Just watched a concert with Ray Wilson.
Bloody hell, that was awful.
:omg: I'm not sure what to think about this. As you say it probably isn't going to happen. I would totally go if it did happen though and they came here! ;D
The problem is that preparing for a single show and preparing for a tour are the same amount of work. Whether it's one show or 100, you're talking months of rehearsals. Yes, these are all very talented guys, and they made the music in the first place, but that was 30 years ago and they haven't played any of it in a long, long time. A few weeks of rehearsal wouldn't be nearly enough; I'm thinking a few months, minimum. When you're looking at an actual tour, where you'll (presumably) make a lot of money, it might be worth it. All that work to put on a single show... I honestly doubt they'd do it.
Has anyone else had this happen with a Genesis release?
Foxtrot is my favorite Genesis album, and Can-Utility is probably in my top 5 Genesis songs.Can-Utility is easily my favorite Genesis song, and one of my favorite songs of all time. It's such an underrated gem. The epitome of what prog music is all about.
You like Peter Gabriel solo, and Genesis after Peter left, but not Genesis while Peter was still in the band?
A lot of it is a combination of how unique the music was at the time and the players involved, and of course personal taste. Early Genesis combined English whimsy and storytelling with some early yet very mature progressive rock. Banks on keyboards and Hackett on guitar were both virtuosos from the very start, and only got better. Collins' drumming was amazingly intricate yet tight, and could also be heavy when it was called for. You had the acoustic side, with two 12-strings and a six, you had Gabriel's unique voice... I mean, there was a huge amount of talent there, and it came through in every aspect of their music.
But it still comes down to taste. If it doesn't thrill you, it doesn't. You can't force yourself to like something, but I would at least suggest you give it another try. There's only four albums from the classic lineup (Nursery Cryme, Foxtrot, Selling England by the Pound, The Lamb Lies Down on Broadway).
I used to be a Peter Gabriel -era Genesis snob, but I now think that the 5 Collins-era albums that followed it are every bit as good if not better.
What tour are you talking about? They got together for a documentary, no tour.
What tour are you talking about? They got together for a documentary, no tour.
You and your facts. You're so ... unimaginative!
Seriously though, I think they just put the official kabosh on this thing. As PC said in that one interview, what would he even do in a Genesis reunion? He can't play the drums, and PG would sing. Should he just stand there on stage and smile?
My source claims they are gonna do a reunion tour that will feature a 33-minute version of Illegal Alien.
I like the Seconds Out version, too. It was my first Genesis album, and the original studio version is also great, but sounds so dry and reserved compared to the Seconds Out version.
Totally agree.
I've stated that Phil is much more expressive than Peter, and had many Gabriel defenders tell me that it's really just a difference in style. Peter's style is more quiet, controlled intensity whereas Phil just belts it out.
"Six six six is no longer alone!" Phil is belting it out, it's echoing through the hall. In the original studio version (and also the version originally recorded for Genesis Live which finally surfaced many years later), you can hear a certain amount of emotion in the words, but it just wasn't Peter's style to wail. And in a live setting, I want the big and bombastic.
He does ham it up. "Too much" is a matter of taste and opinion. There are times when I think Phil goes too far, but in general, I like a live performance to sound live, not like the original version that happens to be performed in front of an audience.
All eras fan here. :heart
Don't make me choose between Phil and Peter. I simply can't do it.
Got excited for frickin' nothing. That cover? They announced it as the new logo. Why have a new logo if you aren't doing shit? I have all four CD box sets and the debut album, I doubt I need this for anything.
Genesis isn't even a band that you should use compilations to get into anyway IMO. Listen to Selling England and Invisible Touch. You get a taste of the two major eras and you'll know where to go from there.
Well said.This is why I'd opt for IT and Selling England. You get a taste of both eras at their strengths, and you can choose where to go from there. If you prefer IT you can delve more into the pop albums first, if you prefer Selling England you can delve into the prog stuff. I think that makes more sense than a compilation for a band like Genesis. Especially given their changes in sound over the years and how consistent their albums tend to be IMO.
On the other hand, not everyone has the means to start from the beginning and check them all out, or the time to do so. A compilation isn't necessarily a bad way to get a taste for how their sound evolved over time, but it has to be a good compilation. Not just "greatest hits over the years" but with representative album tracks as well, and arranged chronologically. I always find it stupid when they shuffle everything together because "it's all Genesis" or whoever the band is.
For me, Genesis ended with We Can't Dance. Fading Lights is their swan song, and what a swan song at that.
For me, Genesis ended with We Can't Dance. Fading Lights is their swan song, and what a swan song at that.
I think they probably expected what they were told to expect, a comprehensive look at the history of the band and its members, together and apart. Mainstream has nothing to do with it. If the goal was to explore all facets of the band and its members, then that should have happened. Instead (and again, I haven't seen it and probably won't) it was yet another regurgitation of the same crap that everyone else has done, focusing on the popular rather than actually attempting to dig any deeper. In fact, it probably would have been more interesting to focus more on stuff people didn't already know.
Steve specifically speaks of how he was asked and talked about his solo material, and none of it was in the doc. True, I'm sure they had hours of footage and had to edit it down to a reasonable length. But if they actually asked you about things and you talked about them, and you were told up front that it would be included, then I think you're justified in thinking that at least some of it would end up in the final product. Literally not a word? Group shots with him essentially cut out? That's just lame.
Saw this today:
https://www.youtube.com/watch?v=NB5Y9G8oYuI
I'm surprised Wilson is allowed to do this. Does he have full reign to play Genesis songs and use the name as he pleases?
I listened to one of Ray Wilson's albums once. Huge emphasis on "once". Also,will watch the documentary tonight. Will report later.So yeah it was a pretty alright documentary besides the obvious clash between couple of the members and the dismissal of Steve Hackett. (whose solo work imo is better than all the members besides Gabriel) Also this documentary pretty much confirms that there will never be a tour of The Lamb. (Banks wouldn't be too hyped i think and can Phil even drum anymore?)
I listened to one of Ray Wilson's albums once. Huge emphasis on "once". Also,will watch the documentary tonight. Will report later.So yeah it was a pretty alright documentary besides the obvious clash between couple of the members and the dismissal of Steve Hackett. (whose solo work imo is better than all the members besides Gabriel) Also this documentary pretty much confirms that there will never be a tour of The Lamb. (Banks wouldn't be too hyped i think and can Phil even drum anymore?)
https://www.ultimate-guitar.com/news/general_music_news/phil_collins_has_returned_to_music_but_dont_expect_a_genesis_reunion.html
Mere five days after undergoing a major back surgery, Phil Collins has announced that he's returning to the world of music after a four-year break.
Anyone follow The Musical Box? Anyone know what "The Black Show" is?Apparently on part of the Selling England tour they modified their stage setup and that is what they are referring to. I don't remember all of the differences but I believe Black Lights were used a lot more in that version. I think there was a difference in the screens behind the band as well. I actually saw the Musical Box do the "black show" back in '97. I haven't seen the normal show though and with it being so long ago I'm forgetting the details.
Anyone follow The Musical Box? Anyone know what "The Black Show" is?Apparently on part of the Selling England tour they modified their stage setup and that is what they are referring to. I don't remember all of the differences but I believe Black Lights were used a lot more in that version. I think there was a difference in the screens behind the band as well. I actually saw the Musical Box do the "black show" back in '97. I haven't seen the normal show though and with it being so long ago I'm forgetting the details.
I would have to see the setlist first. If he plays older tunes I'd go, but I'm not too interested in the Tarzan-era PC.
I would have to see the setlist first. If he plays older tunes I'd go, but I'm not too interested in the Tarzan-era PC.
I'd go either way; I grew up on his Tarzan material! :lol
My reaction to hearing a Genesis song for the first time was literally, "Wait, is that the guy who did the music in Tarzan?" So his role with Disney led me to discovering his Genesis material and from there, his work in the prog era. :tup
Been listening to Three Sides Live in the car last week.
Those versions of Abacab and the Duke Suite back to back like that is just killer.
Possibly, but it's not on the bootleg, and I don't think they switched up set lists very much. They may have had Supper's Ready in the set list and dropped it at some point, though.
According to Wiki, 1982 was the last time Supper's Ready was played live in its entirety. I don't know if they played it every tour until then, but if there was a tour where they didn't include it, 1980 would be the one. Genesis saw Duke as akin to Supper's Ready in that it would be a side-long epic, so they intentionally broke it up on the studio album to avoid direct comparisons. The 1980 tour was the only tour featuring Duke in its entirety, so as I say, this would be the tour to not play Supper's Ready.
Agreed. The live version of Abacab smokes. I love how they've refined the jam at the end into a real structured piece that builds up to a great ending.
If you ever get a chance to check out the bootleg from May 7, 1980 at the Lyceum Ballroom, you should. That's the soundboard from which a lot of Three Sides Live was taken, and it includes all six parts of Duke, played in order as a true suite. Excellent quality. One of the few bootlegs I've ever bothered keeping.
Ha ha, that actually made me chuckle. They toured to support a live album. I don't know... that just strikes me as funny. Of course, the original version of Three Sides Live had a fourth side of unreleased (in the U.S.) studio material, but it still seems weird.
As for me, I generally do not like medleys (though not as strenuously as Petrucci, apparently) but the medley afterWhen I see a live show a Medley usually isn't great seeing as it means you miss a lot of the songs. But I agree that one is really good. Though I'm slightly partial to the one on the Mama tour where they included "In That Quiet Earth" as well. And I think Genesis did a much better job with their transitions in their medleys than other bands do.
"In The Cage" is likely my single favorite recorded moment in music. Phil and Chester drumming away, Tony going crazy...
What I always found odd about that though is that Who Dunnit was very close in the setlist to it. That is just so jarring.
I wanna get into this band, what would you recommend for a prog/psychedelic rock fan?
Been listening to A Trick of the Tail a lot lately. What an underrated album! It's actually fucking awesome! Mad Man Moon is so beautiful.
Wind... might have slightly higher highs than Trick... - One for the Vine is probably the best song from either - but Trick... is so just so damn consistent and flows incredibly well, while Wind... doesn't flow as well, which sure isn't helped by Your Own Special Way, which should have been tossed into the abyss. Don't get me wrong, I am a big fan of Wind..., but while that album sits in my 2nd tier of Genesis albums along with Foxtrot and Duke, Trick... is in that top tier with The Lamb... and Selling England...
I like "More Fool Me". No, it's not a great song, but it was an early Phil song that even then showed off his ear for interesting harmonies. And I kinda like it as an afterthought after the amazing "Firth of Fifth".
The Lamb Lies Down on Broadway is like a crazy acid trip.
The fact of the matter off course is, that Phil, against a gigantic amount of scepsis, ended up doing a fantastic job replacing Peter on lead vocals. Which must have been a daunting task, to say the least. Off course, bringing in a second drummer for the live gigs was a masterstroke.
Mostly original. Collins and Hackett joined on the third album, but Gabriel, Banks and Rutherford were there from the start. Banks and Rutherford are the two that are on every Genesis album.
Same with Steve Hackett. I love his guitar work, but that's about it. Most of the songs bore me, and I'm rarely impressed by the singers on his albums. If he did a solo album of just guitar/instrumental stuff, I'd probably dig that.
Mike's first album, Smallcreep's Day, is said to be very good. Not always prog, but good stuff anyway. I've never been able to find a copy, and I'm not quite interested enough to spend a bunch on ordering and importing one.
I have his second album, Acting Very Strange. I actually forgot about it until you mentioned it. It's okay, not great. Some fun, catchy stuff. Not very proggy. Everyone says that Smallcreep's Day is better, but again, I can't confirm that.
Wow, another thumbs-up for Smallcreep's Day. I really need to find that album.
I just wish Phil did a better job on the remasters. I'm a completest, and there are a LOT of b-sides that got left in the vault and I think that's a shame (though he was one of the members that kept tracks off the Genesis Archives set as well). I don't get it; it's not like we haven't heard them already.
But you get new pictures of his face.
Regarding Steve Hackett, I totally disagree with the earlier posts. First, his guitar playing is excellent. Top notch. Second, most of the singing is done by himself. He doesn't have a BIG voice (range, volume), he just uses it well. These songs with his vocal harmonies together with his electric /classical guitars is the essential Hackett. Also Randy Crawford and Richie Havens made some very emotional contributions on 'Please Don't Touch!', a CD I have great memories about.
I'd fully recommend some of his later offerings, they inspired me to play a lot of his older stuff as well:
'Beyond The Shrouded Horizon'
'Out Of The Tunnel's Mouth'
'To Watch The Storms'
'Wolflight'
It's not easy stuff, it's prog. But once you get into his universe, there is so much to find.
Regarding Steve Hackett, I totally disagree with the earlier posts. First, his guitar playing is excellent. Top notch. Second, most of the singing is done by himself. He doesn't have a BIG voice (range, volume), he just uses it well. These songs with his vocal harmonies together with his electric /classical guitars is the essential Hackett. Also Randy Crawford and Richie Havens made some very emotional contributions on 'Please Don't Touch!', a CD I have great memories about.
I'd fully recommend some of his later offerings, they inspired me to play a lot of his older stuff as well:
'Beyond The Shrouded Horizon'
'Out Of The Tunnel's Mouth'
'To Watch The Storms'
'Wolflight'
It's not easy stuff, it's prog. But once you get into his universe, there is so much to find.
I'll take that into consideration. I kinda figure that Hackett's music will click with me more at some point. Usually that's how it is with prog. I actually just listened to his first album again yesterday and my opinion remains the same. Good stuff but I need to be in the right mood and I rarely am. It's good enough to keep me wanting to seek out more though.
https://www.youtube.com/watch?v=WdEPgB2yizw&feature=share
Anybody seen this?
Mike + the Mechanics reference in an episode of Portlandia.
Never watched it in my life. Friend linked me to it.
So anyone ever check out The Musical Box tribute band? They pretty much recreate a Genesis show from the mid 70s identically. Gonna check them out next month. The guy that portrays Peter Gabriel sounds pretty spot on.
Musical Box toured once with the Trick of the Tail setlist and stage show. I would kill to see that.
There are several other tribute acts and in fact, there was a Genesis Fan Festival just announced in Duluth, MN with several tribute acts and Brand X performing. So far, ticket sales are slow and they have mentioned they might have to postpone the event. I'm going to try to go even though Duluth is almost in Canada but I've never been to Lake Superior and there is a cool national park nearby among other stuff so it might be worth it.
https://www.indiegogo.com/projects/north-american-genesis-fan-festival-2017-music#/
I put "It's Yourself" in between what were originally Side 1 and Side 2 of Trick of the Tail on my iPod. That's kinda my default place to stash extra tracks. It's always weird getting to the end of the album and then hearing more.
Speaking of middle-era Genesis, I did the same with "Match of the Day" and "Inside and Out" and added them to Wind & Wuthering, since those tunes were from the W&W sessions.
I put "It's Yourself" in between what were originally Side 1 and Side 2 of Trick of the Tail on my iPod. That's kinda my default place to stash extra tracks. It's always weird getting to the end of the album and then hearing more.
Here's the YouTube video I first heard the full version of "It's Yourself". Like you, I had originally placed that song AFTER "Mad Man Moon", in between the album's two sides, but after hearing the full, unfaded ending, I knew I had to place it before "Mad Man Moon".
https://www.youtube.com/watch?v=GgNjiU4PogI
I put "It's Yourself" in between what were originally Side 1 and Side 2 of Trick of the Tail on my iPod. That's kinda my default place to stash extra tracks. It's always weird getting to the end of the album and then hearing more.
Here's the YouTube video I first heard the full version of "It's Yourself". Like you, I had originally placed that song AFTER "Mad Man Moon", in between the album's two sides, but after hearing the full, unfaded ending, I knew I had to place it before "Mad Man Moon".
https://www.youtube.com/watch?v=GgNjiU4PogI
Wow, that was cool! I've never heard that extended ending before. The songs do go very nicely together. I would even try to cut out more dead air between the two tracks, though it sounds good now.
My favourite Genesis track by far is Abacab. I know it doesn't have a lot to do with the kind of prog you all (and me too) know and love.I also adore what the bass guitar does on No Reply At All.
Got all their albums plus all solo albums of all members, prefer the Phil era, saw them live in 1988.
My favourite members of theirs is Mike Rutherford.
The problem with Abacab is, at least for me, it isn't of consistent quality. Abacab, Dodo/Lurker, Me And Sarah Jane are great, No Reply and Man On The Corner are good, the rest is solid but nothing to write home about and then there's Who Dunnit :omg:
I've ordered Duke, which should hopefully be here sometime in the coming week. Looking forward to hearing it. Interesting idea of writing an epic and spreading it throughout the album. Shows they still had the prog in them, even after Gabriel and Hackett left.
I've ordered Duke, which should hopefully be here sometime in the coming week. Looking forward to hearing it. Interesting idea of writing an epic and spreading it throughout the album. Shows they still had the prog in them, even after Gabriel and Hackett left.
I think the original idea was for them to have the epic as one piece but were worried it would be compared to Supper's Ready so they decided to spread it out. I really would love to hear it all as one piece.
You're gonna love Duke, though. Great album.
Yet another example of Genesis generously filling their vinyl albums, Duke is a whopping 55 minutes long. And I thought SEBTP was a long single-vinyl album.
Duke arrived today. Listening now, and Duke's Travels is Frost* through and through. Several parts remind me of Hyperventilate, and the entire thing is reminiscent of Nice Day For It.
Duke arrived today. Listening now, and Duke's Travels is Frost* through and through. Several parts remind me of Hyperventilate, and the entire thing is reminiscent of Nice Day For It.
I think you've got that backwards, chief. :biggrin:
Duke arrived today. Listening now, and Duke's Travels is Frost* through and through. Several parts remind me of Hyperventilate, and the entire thing is reminiscent of Nice Day For It.
I think you've got that backwards, chief. :biggrin:
LOL Must be a time traveler...but I get the meaning. Frost* have had some interesting sounds and influences, though I doubt Jem would say he had Genesis in mind.
-Marc.
It's Neo-Progressive Rock.. a subgenre that was started by Marillion, who basically wanted to sound like Genesis :D
Duke arrived today. Listening now, and Duke's Travels is Frost* through and through. Several parts remind me of Hyperventilate, and the entire thing is reminiscent of Nice Day For It.
I think you've got that backwards, chief. :biggrin:
It's Neo-Progressive Rock.. a subgenre that was started by Marillion, who basically wanted to sound like Genesis :D
There, that's better.
It's Neo-Progressive Rock.. a subgenre that was started by Marillion, who basically wanted to sound like Genesis :D
There, that's better.
Very true! :lol Well...started by Marillion, but maintained by IQ. I just always thought that Frost* was too modern to be "Neo-Prog", which I associate with a very specific 80's/90's prog sound that is highly influenced by Gabriel-era Genesis, and while a band like Marillion started out like that, bands like IQ have been sailing that ship for ages now, but I never really felt like Frost* was directly in that subgenre - more of a tangent to it, really.
-Marc.
TH: Who are some of your actual musical influences?
JG: Genesis would be the first and foremost; with Tony Banks being such a huge influence on me when I was growing up. Being this budding keyboard player, I wanted to be him so badly, so I even copied his facial expressions. I was very influenced by their middle period, "The Wind & the Wuthering" [sic] and even "Duke," which I think is very underrated as a prog record. They were my first passion. From there, Rush were a very strong influence on me because of their clever use of keyboards and guitars against the melodies; tracks like "Tom Sawyer" were kind of these amazing bits of music as I was concerned. Another band I liked was called It Bites, so it a pretty narrow mix of bands because their output was so immense, it was like hearing a new band every album.
TH: Did you have any formal musical training or anything like that?
JG: No, but then again, I am self taught; learning Tony Banks keyboard solos, learning things like "Cinema Show" and "The Cage" when I was ten, I would spend my summer vacations sitting down with an album or video learning how to play all these keyboard solos, and still after three years later I couldn't read a note of music (laughing) but I could play all over the place on the piano, which really freaked my music teacher out.
It's Neo-Progressive Rock.. a subgenre that was started by Marillion, who basically wanted to sound like Genesis :D
There, that's better.
Very true! :lol Well...started by Marillion, but maintained by IQ. I just always thought that Frost* was too modern to be "Neo-Prog", which I associate with a very specific 80's/90's prog sound that is highly influenced by Gabriel-era Genesis, and while a band like Marillion started out like that, bands like IQ have been sailing that ship for ages now, but I never really felt like Frost* was directly in that subgenre - more of a tangent to it, really.
-Marc.
Why just Marillion? IQ's Debut album came out the same year as Marillions, and I personally like it better than the first Marillion Albums...
Unfortunately, I still haven't pin-pointed a decent spot to place "Twilight Alehouse" or "Happy The Man". Any suggestions?
-Marc.
But I abhor the early, twee Phil vocals ("More Fool Me" is one of my five least favorite Genesis songs ever), and, well, SUPPER'S READY.
But I abhor the early, twee Phil vocals ("More Fool Me" is one of my five least favorite Genesis songs ever), and, well, SUPPER'S READY.
I don't get it, you like Genesis, but.. you.. don't like.. SUPPER'S READY?? :omg: :omg: :omg:
But I abhor the early, twee Phil vocals ("More Fool Me" is one of my five least favorite Genesis songs ever), and, well, SUPPER'S READY.
I don't get it, you like Genesis, but.. you.. don't like.. SUPPER'S READY?? :omg: :omg: :omg:
No, no, I wrote that poorly. I was saying "Nursery Cryme is great, but it has the twee Phil vocals I hate, and Foxtrot gets a huge plus one for having the epic Supper's Ready". I actually LOVE that song, it just has never grown old for me. I love the Pete version on Foxtrot, I love the Phil version on Seconds Out, and I love the Pete version from the Rainbow (in the Archive set).
But I abhor the early, twee Phil vocals ("More Fool Me" is one of my five least favorite Genesis songs ever), and, well, SUPPER'S READY.
I don't get it, you like Genesis, but.. you.. don't like.. SUPPER'S READY?? :omg: :omg: :omg:
No, no, I wrote that poorly. I was saying "Nursery Cryme is great, but it has the twee Phil vocals I hate, and Foxtrot gets a huge plus one for having the epic Supper's Ready". I actually LOVE that song, it just has never grown old for me. I love the Pete version on Foxtrot, I love the Phil version on Seconds Out, and I love the Pete version from the Rainbow (in the Archive set).
I was gonna say, there's very few Gabriel-Era Genesis fans that WON'T like "Supper's Ready"! But yes, any full version of SR is amazing, even the missing-Live version that has bounced around in bootleg circles for years and years, though I am glad we finally have the FULL Rainbow show from the SEBTP tour (even though Watcher and Musical Box were downloads - make the show a 2-CDr set like I did!).
-Marc.
-Marc.
But I abhor the early, twee Phil vocals ("More Fool Me" is one of my five least favorite Genesis songs ever), and, well, SUPPER'S READY.
I don't get it, you like Genesis, but.. you.. don't like.. SUPPER'S READY?? :omg: :omg: :omg:
No, no, I wrote that poorly. I was saying "Nursery Cryme is great, but it has the twee Phil vocals I hate, and Foxtrot gets a huge plus one for having the epic Supper's Ready". I actually LOVE that song, it just has never grown old for me. I love the Pete version on Foxtrot, I love the Phil version on Seconds Out, and I love the Pete version from the Rainbow (in the Archive set).
I was gonna say, there's very few Gabriel-Era Genesis fans that WON'T like "Supper's Ready"! But yes, any full version of SR is amazing, even the missing-Live version that has bounced around in bootleg circles for years and years, though I am glad we finally have the FULL Rainbow show from the SEBTP tour (even though Watcher and Musical Box were downloads - make the show a 2-CDr set like I did!).
-Marc.
-Marc.
I hope this doesn't fall under the "illegal"-policy (if so I will delete this post), but is it possible you could give me that 2-CD version? Or where can I buy it?
Full disclosure is required here. The 5.1 mixes from the box sets are very nice, but the guy who did them also messed with the mix. In my opinion, this was not always a good thing. A number of awesome, subtle things that were originally lower in the mix are now much louder. Yeah, it's nice to hear those lines, but a huge part of early Genesis was the juxtaposition of quiet and not-so-quiet sections. When everything's loud, there's no contrast and to me much of the beauty of the composition is lost.
If you're not familiar with the original mixes, this might not bother you, but as someone who grew up with them, the remixes sound clearer but are also victims of the loudness war. 5.1 is cool, remastering is good, but remixing is completely different. I was looking forward to awesome surround-sound versions of my favorite albums. Instead I got surround-sound versions of remixed versions of my favorite albums. Not the same thing. I sold my box sets on Ebay (for a profit).
I've been on a big Genesis kick for a while now, but only just recently starter digging into the B-sides and unused tracks.
It's Yourself has quickly become one of my favorite Genesis songs. Phil's vocals are so emotive, and the guitar is as majestic as any other 70s era Genesis tune. And when you make it segue into Los Endos, it becomes an epic on par with Cinema Show, almost. Very very beautiful.
I feel like Happy The Man sounds more like Trespass than Nursery Crime. Lots of bits remind me of Stagnation, for example. Twilight Alehouse is another track that's definitely one of their best and most interesting songs. The drums at the end really rock. Inside and Out is prettier than alot of what made it onto W&W, is that a Hackett song?
Naminanu is great as well. Reminds me of something Yes would do.
I still have a lot further down the rabbit hole yet to go. It sure is deeper than I thought.
I've been on a big Genesis kick for a while now, but only just recently starter digging into the B-sides and unused tracks.Did you check out the link I posted earlier in the thread that shows how "It's Yourself" originally had a longer ending that ends with the same arpeggio that opens up "Mad Man Moon"? It makes for a PERFECT segue between the two songs.
It's Yourself has quickly become one of my favorite Genesis songs. Phil's vocals are so emotive, and the guitar is as majestic as any other 70s era Genesis tune. And when you make it segue into Los Endos, it becomes an epic on par with Cinema Show, almost. Very very beautiful.
I feel like Happy The Man sounds more like Trespass than Nursery Crime. Lots of bits remind me of Stagnation, for example. Twilight Alehouse is another track that's definitely one of their best and most interesting songs. The drums at the end really rock.These two songs are pretty nice, especially for being the only 2 non-album songs from the Gabriel-era that were fully recorded (not counting live at the BBC songs, or demos). The former is a work that reminds me a lot of various material from their first three albums, tho I play it with NC more than TP, same with "Twilight Alehouse", especially since both tracks have Steve and Phil on them. Check further back in the thread if you're interested in my alternate tracklist for Nursery Cryme (which is how I've been listening to it for the last month or more).
Inside and Out is prettier than alot of what made it onto W&W, is that a Hackett song?Yes, "Inside And Out" is a Hackett song, and it's exclusion from WAW was one of the driving forces behind his departure. "Wot Gorilla?" was included on the final album instead, and by that point, Steve felt like his material wasn't being represented as equally as the others.
Naminanu is great as well. Reminds me of something Yes would do.
I still have a lot further down the rabbit hole yet to go. It sure is deeper than I thought.
I've assembled both the Dodo Suite and the Duke Suites on my iPod, and I've also assembled the "Abacab Complete" album, which incorporates both the Suite and the b-sides. I'm sure something similar can be done with the Duke album as well.
I've been on a big Genesis kick for a while now, but only just recently starter digging into the B-sides and unused tracks.Did you check out the link I posted earlier in the thread that shows how "It's Yourself" originally had a longer ending that ends with the same arpeggio that opens up "Mad Man Moon"? It makes for a PERFECT segue between the two songs.
It's Yourself has quickly become one of my favorite Genesis songs. Phil's vocals are so emotive, and the guitar is as majestic as any other 70s era Genesis tune. And when you make it segue into Los Endos, it becomes an epic on par with Cinema Show, almost. Very very beautiful.
Inside and Out is prettier than alot of what made it onto W&W, is that a Hackett song?Yes, "Inside And Out" is a Hackett song, and it's exclusion from WAW was one of the driving forces behind his departure. "Wot Gorilla?" was included on the final album instead, and by that point, Steve felt like his material wasn't being represented as equally as the others.
I've been on a big Genesis kick for a while now, but only just recently starter digging into the B-sides and unused tracks.Did you check out the link I posted earlier in the thread that shows how "It's Yourself" originally had a longer ending that ends with the same arpeggio that opens up "Mad Man Moon"? It makes for a PERFECT segue between the two songs.
It's Yourself has quickly become one of my favorite Genesis songs. Phil's vocals are so emotive, and the guitar is as majestic as any other 70s era Genesis tune. And when you make it segue into Los Endos, it becomes an epic on par with Cinema Show, almost. Very very beautiful.
I had heard that one before! It is very interesting. Here's the edit I've been listening to. (https://www.youtube.com/watch?v=STvWMYb9Arw) Admittedly, it does cut out all of that lovely atmospheric noodling, but I do like the way this edit flows into Los Endos. It's very natural sounding to me and manages to improve Los Endos for me. Having that melodic and emotional vocal with the gentle guitars before building into the frenetic ride cymbal and "Weather Report" style jam, it's makes for a more dynamic piece than default vanilla Los Endos, and kinda sets you up for the conclusion of the album as well. I think It's Yourself makes a very nice "closing thoughts" musical statement paired with Los Endos in this way.
Inside and Out is prettier than alot of what made it onto W&W, is that a Hackett song?Yes, "Inside And Out" is a Hackett song, and it's exclusion from WAW was one of the driving forces behind his departure. "Wot Gorilla?" was included on the final album instead, and by that point, Steve felt like his material wasn't being represented as equally as the others.
I remember hearing Steve mention in a few interviews I saw that he wrote "Please Don't Touch" for W&W and was frustrated that "Wot Gorilla?" was used instead. I think "All In A Mouse's Night" could have been scrapped in favor of Inside and Out. Frankly, even "Your Own Special Way" could have been swapped with Inside and Out (was never a fan of Phil's vocals on that track).
Hackett had previously released a solo album, Voyage of the Acolyte, while still a member of Genesis, but he was frustrated by the collaborative process of Genesis which left much of his creative work unreleased. He insisted that more of his material be included on their next album. Of the four songs he brought to the writing sessions, only one, "Blood on the Rooftops", was worked on and included on their next album. He wrote a song, "Please Don't Touch", that Genesis rehearsed but ended up setting aside, partly because the other members of the band did not want to use it. He also wrote a second song, "Hoping Love Will Last", that he felt was appropriate only for a female singer, which was something that the band could not use. A third song, "Inside and Out", was left off the album, but found its way to the EP Spot the Pigeon alongside two other songs written by other members that were also left off the album. Eventually, the track Wot Gorilla? was decided on as the last track on the first side of Wind and Wuthering, and this decision sealed Hackett's decision to leave Genesis. Hackett quit Genesis and began to record the album Please Don't Touch, using the rejected Genesis song as the title track.[3]
Luckily, I don't pay much mind to the "eras" of Genesis music in the grand scheme of things, and I love every album pretty much equally. I throw in all the 70's Gabriel stuff the 70's Collins stuff and the 80s stuff into one big playlist and enjoy, so it's definitely a treat digging up all these rarer tracks to add to the mix. Such a versatile and varied body of work!
Inside and Out is prettier than alot of what made it onto W&W, is that a Hackett song?Yes, "Inside And Out" is a Hackett song, and it's exclusion from WAW was one of the driving forces behind his departure. "Wot Gorilla?" was included on the final album instead, and by that point, Steve felt like his material wasn't being represented as equally as the others.
I remember hearing Steve mention in a few interviews I saw that he wrote "Please Don't Touch" for W&W and was frustrated that "Wot Gorilla?" was used instead. I think "All In A Mouse's Night" could have been scrapped in favor of Inside and Out. Frankly, even "Your Own Special Way" could have been swapped with Inside and Out (was never a fan of Phil's vocals on that track).
From the wiki article on Please Don't Touch:QuoteHackett had previously released a solo album, Voyage of the Acolyte, while still a member of Genesis, but he was frustrated by the collaborative process of Genesis which left much of his creative work unreleased. He insisted that more of his material be included on their next album. Of the four songs he brought to the writing sessions, only one, "Blood on the Rooftops", was worked on and included on their next album. He wrote a song, "Please Don't Touch", that Genesis rehearsed but ended up setting aside, partly because the other members of the band did not want to use it. He also wrote a second song, "Hoping Love Will Last", that he felt was appropriate only for a female singer, which was something that the band could not use. A third song, "Inside and Out", was left off the album, but found its way to the EP Spot the Pigeon alongside two other songs written by other members that were also left off the album. Eventually, the track Wot Gorilla? was decided on as the last track on the first side of Wind and Wuthering, and this decision sealed Hackett's decision to leave Genesis. Hackett quit Genesis and began to record the album Please Don't Touch, using the rejected Genesis song as the title track.[3]
Seems like Hackett had a LOT of material for W&W, but only "Blood On The Rooftops" was put on (and according to the wiki, it was co-credited with Collins), whereas Tony Banks has 3 solo credits ("One For The Vine", "All In A Mouse's Night", and "Afterglow"). Without having read a lot of the books and what not regarding the band's interpersonal history, I'm sure there was some tension between Hackett and Banks at the time. One telling sign was that Hackett had Collins and Rutherford play on his first solo album, but NOT Banks, so it's possible that Hackett was just fed up with the amount of Banks material the band decided would be on W&W
Call me whack, but I'm in Tony's camp. I'm not a huge fan of "Your Own Special Way" at all (one of my least favorite Genesis songs) but W&W is a top ten all time album for me, and frankly, from what I've heard, I'd rather hear All In A Mouse's Night or Wot Gorilla? than "Please Don't Touch" (as done by Genesis) or "Inside and Out" (though I love the ending of that). Wot Gorilla? actually reprises, in different form, a motif from "One For The Vine", so it makes sense on the album, as does the "Slumbers" suite with "Afterglow". YOSW is a Rutherford track, not a Banks track, so I think there's a good argument that the Banks material was just stronger and more appropriate for the album.
I read that the instrumentals "Unquiet Slumber for the Sleepers..." and "...in that Quiet Earth" were originally one piece. The original title (just put the two together) is the last line of the book Wuthering Heights, which inspired the title of the album itself. They decided to split it into two pieces so that Steve would have credit on more tracks. They felt bad about not using much of his contributions, but the band had always used a democratic system wherein anybody could submit songs to be worked on by the band, and the band as a group would vote on which material they felt was strongest and/or best suited for the album. Steve came up really short this time, so splitting one piece into two seems like literally throwing him a bone.
I should really buy a Genesis biography someday and read up on the intricate history of the band beyond wiki articles and old websites. Any suggestions?
-Marc.
I never realized that Wot Gorilla reprised themes from One For The Vine. Can anyone tell me where exactly?
I never realized that Wot Gorilla reprised themes from One For The Vine. Can anyone tell me where exactly?
I think the three weakest tracks on the album are Your Own Special Way, All In A Mouse's Night and Wot Gorilla, with the latter two definitely being better than the first one but none being really "bad". I guess, the album would have been cooler without Special Way and Wot Gorilla, but with the Please Don't Touch Suite (the whole 8 1/2 min thing). I also like Inside & Out, really cool instrumental part at the end, where Steve sounds a lot like Steve Howe!
So I think, Wind & Wuthering would have been a pretty good double album, too!
A
1. Eleventh Earl Of Mar
2. One For The Vine
3. You Own Special Way
B
4. Wot Gorilla
5. All In A Mouse's Night
6. Inside & Out
C
7. Please Don't Touch
8. Blood On The Rooftops
D
9. Unquiet Slumbers For The Sleepers In That Quiet Earth
10. Afterflow
But then again, almost 20 mins of the album would have consisted of instrumental tracks.. Which Phil would have loved I'm sure :D
I never realized that Wot Gorilla reprised themes from One For The Vine. Can anyone tell me where exactly?
The main melody of Wot Gorilla? revisits the instrumental at 5:30 in One for the Vine.
Someone said "themes" implying that there's more than one, but that's the only one I've ever heard.
I should really buy a Genesis biography someday and read up on the intricate history of the band beyond wiki articles and old websites. Any suggestions?
-Marc.
I've only read Chapter And Verse (https://www.amazon.co.uk/Genesis-Chapter-Verse-Phil-Collins/dp/0297844342), the official biography told by the guys themselves, and I enjoyed it a lot.
I should really buy a Genesis biography someday and read up on the intricate history of the band beyond wiki articles and old websites. Any suggestions?
-Marc.
I've only read Chapter And Verse (https://www.amazon.co.uk/Genesis-Chapter-Verse-Phil-Collins/dp/0297844342), the official biography told by the guys themselves, and I enjoyed it a lot.
This book goes for 69, - on my local retailer. Are you kidding me? Is that amount worth the purchase?
I never realized that Wot Gorilla reprised themes from One For The Vine. Can anyone tell me where exactly?
The main melody of Wot Gorilla? revisits the instrumental at 5:30 in One for the Vine.
Someone said "themes" implying that there's more than one, but that's the only one I've ever heard.
Correct - "Wot Gorilla?" does only reprise the one theme from "One For The Vine", but when I said "I do agree about keeping "Wot Gorilla?" for the sake of shared themes, much like their previous albums have done, as with the trio of songs that close the album", I meant with regards to the WHOLE album containing more songs with shared themes overall, rathern than just having the "Eleventh Earl Of Mar" being quoted at the end of "...In That Quiet Earth". Sticking "Wot Gorilla?" on the album gave it another reprise of a theme, meaning there was a bit more of that thematic reprisal going on, of which there was a lot on their previous album ("Squonk" quoting "Dance On A Volcano", and "Los Endos" quoting both of those, as well as "It's Yourself", which apparently also had the opening notes to "Mad Man Moon" on its original ending).
I mean, how many pages is it? Are there a lot of photo's in there? I'm trying to explain why it would be so expensive.
Okay, true. The louder parts aren't much louder than before, but some quieter parts are louder than they used to be, and some individual parts within the songs themselves have been tinkered with. It's not all brickwalled or anything, but it's been fucked with for no reason other than Nick Davis felt like it. I know, Tony Banks approved the final mixes. They're official releases. But these are not the original albums sounding clearer; they've been fucked with.
So it's been about five years since the last one, but I was thinking of doing another Genesis Survivor over on the Polls & Survivors Forum side of DTF, but I wanted to gauge opinion and interest here regarding it before committing fully to it. Ideally, I'd love to see at least 10-12 participants throughout the whole thing, though I understand that some of their less-desirable albums will likely garner less than 6 or 7 votes, but I can be a little hopeful.
Basically, if there's enough interest here for fellow fans to play, then I'll get right on it. However, if it seems like it'll take awhile, then I may take my time on getting it set up.
-Marc.
I'll be participating, at least for the majority of the albums.
Similar, yes, but I think it's safe to say that many people thought the original sound of Vapor Trails was pretty bad. If they'd just fixed the sound issues without messing with the mix, it would have been nothing but a positive move. But then it wouldn't have been Vapor Trails Remixed. I guess Vapor Trail Remastered just doesn't roll off the tongue the same way.
Still, with the Genesis boxes, the original mixes were freakin' masterpieces, and the sound was also very good to start with. Production and engineering on Genesis albums is always great. So in this case, it was a matter of messing with it just to mess with it. There was no need to "fix" anything.
So Steven Wilson doesnt like Genesis eh?
I call bullshit. :lol
Come on Wilson, have you heard The Watchmaker? It's Cinema Show 2.0
So Steven Wilson doesnt like Genesis eh?
I call bullshit. :lol
Come on Wilson, have you heard The Watchmaker? It's Cinema Show 2.0
Um, what?
The Watchmaker doesn't sound at all like The Cinema Show, hence the "Um, what?" Oh, but wait, they both have an acoustic guitar, mellotron and flute!!! :lol :facepalm:
Yeah, The Watchmaker has a several minutes long keyboard solo section just like The Cinema Show.
Oh wait, no it doesn't.
But wait, the second half of The Watchmaker is all instrumental just like The Cinema Show.
Oops, missed on that one, too.
But hey, at least The Watchmaker comes to an end with a slow crawl, leading into the album's last song.
What, it doesn't? Damn.
So Steven Wilson doesnt like Genesis eh?
I call bullshit. :lol
Come on Wilson, have you heard The Watchmaker? It's Cinema Show 2.0
Um, what?
https://www.facebook.com/pg/swremixes/posts/?ref=page_internal
I can't link the post directly, but in his post about the Marillion remixes he mentions not liking Genesis, only really liking Steve Hackett and Peter Gabriel solo-stuff. But that's got to be the biggest load of BS I've ever heard. He has to love at least the first 4 albums.
So Steven Wilson doesnt like Genesis eh?
I call bullshit. :lol
Come on Wilson, have you heard The Watchmaker? It's Cinema Show 2.0
Um, what?
https://www.facebook.com/pg/swremixes/posts/?ref=page_internal
I can't link the post directly, but in his post about the Marillion remixes he mentions not liking Genesis, only really liking Steve Hackett and Peter Gabriel solo-stuff. But that's got to be the biggest load of BS I've ever heard. He has to love at least the first 4 albums.
Maybe he means Trespass through Selling England by the Pound. I don't have The Lamb Lies Down on Broadway, but I can't remember the last time I played it.
Seriously guys... Close your eyes and imagine Steve Hackett, Peter Gabriel, and Tony Banks having a full on prog rock super group.
Every time I hear modern IQ, I imagine that's what that imaginary supergroup would sound like.
IQ - The Province
https://www.youtube.com/watch?v=atkCHYjw5fA
Speaking of Genesis, I saw The Neal Morse Band utterly destroy (in a good way) The Similitude of a Dream live last night. I was struck in the live setting by how much that band owes to Gabriel era Genesis. There are a number of keyboard parts that evoke memories of the Firth of Fifth-era Tony Banks sound (including one passage that reminisces about the intro itself). Mike is channeling his inner Phil with the way the fills lead the music. Neal uses costumes and effects - minimal, but impactful - to make the point of the lyrics, and even the stage set lends itself to comparisons with the band.
All this is to be incredibly complimentary; at no point did the NMB sound derivative, or like a rip. But if you liked that sort of thing then, you may be able to experience it now.
Speaking of Genesis, I saw The Neal Morse Band utterly destroy (in a good way) The Similitude of a Dream live last night. I was struck in the live setting by how much that band owes to Gabriel era Genesis. There are a number of keyboard parts that evoke memories of the Firth of Fifth-era Tony Banks sound (including one passage that reminisces about the intro itself). Mike is channeling his inner Phil with the way the fills lead the music. Neal uses costumes and effects - minimal, but impactful - to make the point of the lyrics, and even the stage set lends itself to comparisons with the band.
All this is to be incredibly complimentary; at no point did the NMB sound derivative, or like a rip. But if you liked that sort of thing then, you may be able to experience it now.
If it was a secular band I would have no problem saying it was a religious experience, but that term is loaded here.
If it was a secular band I would have no problem saying it was a religious experience, but that term is loaded here.
Heh heh.
Please don't misunderstand. I wasn't saying it was derivative or a copy or anything like that. I just was trying to paint a picture. It was just touch points is all and a way to convey a sense of what it was like without using subjective terms.
For me was one of the most joyous concert experiences I've ever had. I had a smile the entire time. It was very uplifting, especially The Call. If it was a secular band I would have no problem saying it was a religious experience, but that term is loaded here.
When your 2-year-old recognizes and calls out prog rock, you're doing something right! :tup
Also, synchronicity! I just heard the Three Sides Live version of Abacab tonight in my car. It came on shuffle on my iPod. I love the keyboard/guitar duet jam at the end. Great ending to a great song. I was in a band back in the 80's and we did that version.
Preach on! For a while, he was also in the fusion band Brand X, and he brought some of the really crazy, adventurous riffage back to Genesis with him. Phil was amazing in his prime.
I'm preaching to the choir here probably, but to me Phil Collins is one of the drumming greats of all time. He was incredible at creating beats that both perfectly complemented the song, and at the same time are unique and complex.
When your 2-year-old recognizes and calls out prog rock, you're doing something right! :tup
Also, synchronicity! I just heard the Three Sides Live version of Abacab tonight in my car. It came on shuffle on my iPod. I love the keyboard/guitar duet jam at the end. Great ending to a great song. I was in a band back in the 80's and we did that version.
I'll admit to hitting the repeat button repeatedly for an hour while listening to this version in the car. I think it's my favorite live version of that song ever.
I'm preaching to the choir here probably, but to me Phil Collins is one of the drumming greats of all time. He was incredible at creating beats that both perfectly complemented the song, and at the same time are unique and complex.
I'm preaching to the choir here probably, but to me Phil Collins is one of the drumming greats of all time. He was incredible at creating beats that both perfectly complemented the song, and at the same time are unique and complex.
Agreed. The blinding hatred many have for Collins the pop star has made his greatness as a drummer something that many now overlook or have simply forgotten.
And even as a pop star he has some really good tunes, his first couple solo records are pop done ambitious and right.
Later in his career he gets cheesy as f*ck and there was a time where you had the feeling that Phil Collins was everywhere, probably the hate stems from that.
And even as a pop star he has some really good tunes, his first couple solo records are pop done ambitious and right.
Later in his career he gets cheesy as f*ck and there was a time where you had the feeling that Phil Collins was everywhere, probably the hate stems from that.
His first two solo albums are amazing, and contain some really cool and edgy stuff. The roof is leaking, Thru these walls ... all really awesome stuff.
And even as a pop star he has some really good tunes, his first couple solo records are pop done ambitious and right.
Later in his career he gets cheesy as f*ck and there was a time where you had the feeling that Phil Collins was everywhere, probably the hate stems from that.
His first two solo albums are amazing, and contain some really cool and edgy stuff. The roof is leaking, Thru these walls ... all really awesome stuff.
I met Mike Rutherford today!!! Very proud and still shaking a little :O
(https://scontent-frx5-1.xx.fbcdn.net/v/t1.0-9/21432973_10210085918801556_3352107707957457492_n.jpg?oh=6f1337d58e46652b877a2b9244a9580c&oe=5A4D8EA5)
I met Mike Rutherford today!!! Very proud and still shaking a little :O
(https://scontent-frx5-1.xx.fbcdn.net/v/t1.0-9/21432973_10210085918801556_3352107707957457492_n.jpg?oh=6f1337d58e46652b877a2b9244a9580c&oe=5A4D8EA5)
LEGO GENESIS
https://www.musicalbrick.com/store/mini-figures/
Dusted off Trespass a few days ago and have given it a few listens after a break of many years. What a wonderful album, and a massive step-up from their debut. It's difficult to believe they were barely out of their teens when they wrote these songs. Looking For Someone, White Mountain, Visions of Angels (did they later quote from this song on Dodo/Lurker, the 'choral' part?), what an incredible opening 3 songs. And the 2nd half has The Knife and Stagnation, 2 classics.
This is a gem of a prog album, it may even be my favourite of the Gabriel albums.
Genesis do not own the rights to From Genesis To Revelation. Jonathan King set it up so that he would retain total control over the album and the recordings. That's why Genesis themselves never played anything from it after they fired him, why it has never been remastered along with the rest of the Genesis catalog, and why a "new" "lost" early Genesis album shows up every so often with the same songs, a different track order, and maybe an alternate version or outtake or two. I'm sure Nick couldn't even get his hands on it and/or they/Genesis didn't think it was worth it to approach King about it.
I'm actually surprised that anyone has covered songs from that album, because that would require permission not from Genesis, but from Jonathan King.
I'm glad you mentioned Cul-de-Sac. This often forgotten song amazes me. Extremely intelligent harmonies, fantastic playing by Collins (as per usual) and a quite a few rhythmical knacks here and there - all squeezed into 5 very concise minutes.
Also, I agree, Banks was fortunate to have met the guys. But they were just as fortunate. I mean, in the end, Banks was the mastermind behind Genesis. He wrote crazy good stuff before Collins even realized he could write anything. Most of the greatest ideas from the 70-80 eras came from Tony. The intro to Firth, The Cinema Show and Supper's Ready keyboard solos, next to the songs we already mentioned.
Stads, I'm glad you mentioned Mouse's Night. There are lots of people that treat that song like a throw away from the Mach II era, but I absolutely LOVE that song. The juxtaposition of the music when the story changes back and forth from the couple to the mouse is just brilliant.
I listened to DUKE a lot in the last days and did anyone notice how phenomenal Phils drum work is on this record? Just listen to Duke's End.
I listened to DUKE a lot in the last days and did anyone notice how phenomenal Phils drum work is on this record? Just listen to Duke's End.
Phil is on my drumming Mt. Rushmore (John, Neil, Mike and Phil) and it still amazes me how he moved from style to style, played it well, but still kept his identity.
I saw the Musical Box a couple weeks ago - second row, right in front of the drummer - and the arrangements just blew me away (again!!). I found myself following the drum cues through out the show and it was really really good.
The last Genesis item arrived the other day, finally completing my Genesis collection, after years of searching and saving up (and spending way too much!) money. Very proud of this.
I also have all albums from From Genesis To Revelation to We Can't Dance as original issues, including all the live albums. But that's too much to portray it like this. Calling All Stations is just too expensive to get as 1997 version.
Oh I almost forgot: The last item to arrive was the green vinyl box set. I saved the best for last.
(https://image.ibb.co/j2RNCS/IMG_8337.jpg)
So what "Calling All Stations" are you looking for? Specifically?
There are two songs I would have included into the album: On The Shoreline and Hearts On Fire, which should have replaced Never A Time and Since I Lost You or Way Of The World imo. Two awesome tunes.
Re: We Can't Dance, there's a great album in there somewhere, but it's just far too long, making it only a good one. I'm a fan of keeping albums to around the 40-45 minute mark (it served all the classics well). I'd have put it out with this track-listing:
No Son Of Mine
Jesus He Knows Me
Driving The Last Spike
I Can't Dance
Dreaming While You Sleep
On The Shoreline
Living Forever
Fading Lights
As for the songs, Driving The Last Spike is my favourite Genesis track, and No Son Of Mine is probably top 10 material.
Fritzinger, I have a question - that picture you posted, those vinyls are all Genesis??
was a very big fan of the way Fading Lights was presented on stage (with just the three members playing).
was a very big fan of the way Fading Lights was presented on stage (with just the three members playing).
I didn't realize that they did that. Pretty cool, and a clear throwback to The Cinema Show, the instrumental section of which was always performed by just Tony, Mike, and Phil, even when Peter and Steve were still in the band.
was a very big fan of the way Fading Lights was presented on stage (with just the three members playing).
I didn't realize that they did that. Pretty cool, and a clear throwback to The Cinema Show, the instrumental section of which was always performed by just Tony, Mike, and Phil, even when Peter and Steve were still in the band.
And I didn't realize they did that. Why wouldn't they let Steve play on that part? Poor Steve.
@Dave:
No that is my whole collection :) It's about 800 records.
That's how I've always interpreted it. It's a song about the end of something that was very cool, but it's the end and we should accept it. And that's what it was until Tony and Mike couldn't help themselves and made Calling All Stations years later.was a very big fan of the way Fading Lights was presented on stage (with just the three members playing).
I didn't realize that they did that. Pretty cool, and a clear throwback to The Cinema Show, the instrumental section of which was always performed by just Tony, Mike, and Phil, even when Peter and Steve were still in the band.
And I didn't realize they did that. Why wouldn't they let Steve play on that part? Poor Steve.
I don't know if it was a matter of "letting" him play. There's no guitar during that whole 7/8 jam, or if there is, he's just accenting or something. I think of it as like when the singer leaves for a while when there's a long instrumental. If there's no guitar, or keyboards or whatever, for an extended section, might as well take a break. It was just a "special" thing they did during The Cinema Show jam. Looking at it now, it's probably one of the many things that led to Steve feeling a bit like a less-than-full member of the band or something.
I've seen TMB twice now; the first time there were a few mistakes that were kind of obvious and so my jury was out, though the "Peter Gabriel" was largely spot on (actually, creepily so). This last time was musically PERFECT - "Tony" even nailed the intro to Firth of Fifth - and they did a 20-minute "suite" of The Lamb as an encore (with the historically correct "Genesis rarely played encores, and certainly none like this, but we're fashioning a new show for next year, and so as thanks for your support [it was their 20 or 25th anniversary the night I saw them] we're going to do a few more numbers for you", or something very very close to that).
They've done the Lamb before, for one tour; I missed it so I will be there next time for sure.
Small pet peeve: BOTH TIMES, during Supper's Ready, "Peter" sang the "We watch in reverence, as Narcissus is turned to a flower" lyric, and there was the requisite pause... and some douche nozzle behind me screams - OFF CUE - "A FLOWER!". Even the singer was slightly annoyed, as he gave the cue and the band went into the Willow Farm section. Also, I was third row, and there were two couples in front of me talking the whole show, and one of them left right before Supper's Ready - during the "story" intro - and so they stand up and they're hugging the other couple, and "Peter" had to pause for them as well. I hate people.
@Dave:
No that is my whole collection :) It's about 800 records.
Ah, fair enough! I thought maybe you collected different copies/pressings of every album and Genesis-related solo project (I noticed Peter Gabriel's Real World Records logo on a few of them). There's a Pink Floyd fan on Youtube who has hundreds of Floyd vinyl, even though they only released 15 albums.
You have a great collection by the way. I love those Genesis box sets.
I've seen TMB twice now; the first time there were a few mistakes that were kind of obvious and so my jury was out, though the "Peter Gabriel" was largely spot on (actually, creepily so). This last time was musically PERFECT - "Tony" even nailed the intro to Firth of Fifth - and they did a 20-minute "suite" of The Lamb as an encore (with the historically correct "Genesis rarely played encores, and certainly none like this, but we're fashioning a new show for next year, and so as thanks for your support [it was their 20 or 25th anniversary the night I saw them] we're going to do a few more numbers for you", or something very very close to that).
They've done the Lamb before, for one tour; I missed it so I will be there next time for sure.
Small pet peeve: BOTH TIMES, during Supper's Ready, "Peter" sang the "We watch in reverence, as Narcissus is turned to a flower" lyric, and there was the requisite pause... and some douche nozzle behind me screams - OFF CUE - "A FLOWER!". Even the singer was slightly annoyed, as he gave the cue and the band went into the Willow Farm section. Also, I was third row, and there were two couples in front of me talking the whole show, and one of them left right before Supper's Ready - during the "story" intro - and so they stand up and they're hugging the other couple, and "Peter" had to pause for them as well. I hate people.
The last show I was at two women fell asleep right across the aisle from me. One had a drink in her hand and spilled it. Fortunately it didn't get on anybody but herself. A guy in front of her actually turned around and took a picture of her. Then during' in supper's ready he stood up and started jamming. I don't blame him. I personally like standing at shows. As I understand it even in the 70s a genesis audience would sit the whole time so it was a little out of place but still I admired how into it he was. Then after three minutes he left to go get a beer. I don't understand people.
I've seen TMB twice now; the first time there were a few mistakes that were kind of obvious and so my jury was out, though the "Peter Gabriel" was largely spot on (actually, creepily so). This last time was musically PERFECT - "Tony" even nailed the intro to Firth of Fifth - and they did a 20-minute "suite" of The Lamb as an encore (with the historically correct "Genesis rarely played encores, and certainly none like this, but we're fashioning a new show for next year, and so as thanks for your support [it was their 20 or 25th anniversary the night I saw them] we're going to do a few more numbers for you", or something very very close to that).
They've done the Lamb before, for one tour; I missed it so I will be there next time for sure.
Small pet peeve: BOTH TIMES, during Supper's Ready, "Peter" sang the "We watch in reverence, as Narcissus is turned to a flower" lyric, and there was the requisite pause... and some douche nozzle behind me screams - OFF CUE - "A FLOWER!". Even the singer was slightly annoyed, as he gave the cue and the band went into the Willow Farm section. Also, I was third row, and there were two couples in front of me talking the whole show, and one of them left right before Supper's Ready - during the "story" intro - and so they stand up and they're hugging the other couple, and "Peter" had to pause for them as well. I hate people.
The last show I was at two women fell asleep right across the aisle from me. One had a drink in her hand and spilled it. Fortunately it didn't get on anybody but herself. A guy in front of her actually turned around and took a picture of her. Then during' in supper's ready he stood up and started jamming. I don't blame him. I personally like standing at shows. As I understand it even in the 70s a genesis audience would sit the whole time so it was a little out of place but still I admired how into it he was. Then after three minutes he left to go get a beer. I don't understand people.
When i went to see a Genesis tribute a few years ago with a friend we had a similar issue with people talking. Just throughout the entire show they were chatting among themselves, even throughout the entire intro to Firth Of Fifth. It was only a small venue so not really the sort of place where that sort of thing is easily drowned out either, incredibly annoying.
I've seen TMB twice now; the first time there were a few mistakes that were kind of obvious and so my jury was out, though the "Peter Gabriel" was largely spot on (actually, creepily so). This last time was musically PERFECT - "Tony" even nailed the intro to Firth of Fifth - and they did a 20-minute "suite" of The Lamb as an encore (with the historically correct "Genesis rarely played encores, and certainly none like this, but we're fashioning a new show for next year, and so as thanks for your support [it was their 20 or 25th anniversary the night I saw them] we're going to do a few more numbers for you", or something very very close to that).
They've done the Lamb before, for one tour; I missed it so I will be there next time for sure.
Small pet peeve: BOTH TIMES, during Supper's Ready, "Peter" sang the "We watch in reverence, as Narcissus is turned to a flower" lyric, and there was the requisite pause... and some douche nozzle behind me screams - OFF CUE - "A FLOWER!". Even the singer was slightly annoyed, as he gave the cue and the band went into the Willow Farm section. Also, I was third row, and there were two couples in front of me talking the whole show, and one of them left right before Supper's Ready - during the "story" intro - and so they stand up and they're hugging the other couple, and "Peter" had to pause for them as well. I hate people.
The last show I was at two women fell asleep right across the aisle from me. One had a drink in her hand and spilled it. Fortunately it didn't get on anybody but herself. A guy in front of her actually turned around and took a picture of her. Then during' in supper's ready he stood up and started jamming. I don't blame him. I personally like standing at shows. As I understand it even in the 70s a genesis audience would sit the whole time so it was a little out of place but still I admired how into it he was. Then after three minutes he left to go get a beer. I don't understand people.
When i went to see a Genesis tribute a few years ago with a friend we had a similar issue with people talking. Just throughout the entire show they were chatting among themselves, even throughout the entire intro to Firth Of Fifth. It was only a small venue so not really the sort of place where that sort of thing is easily drowned out either, incredibly annoying.
And what have we learnt from this? Concerts would be great experiences if it weren't for other human beings. Like a lot of things in life, they make the experience less enjoyable.
A guy in front of her actually turned around and took a picture of her. Then during' in supper's ready he stood up and started jamming. I don't blame him. I personally like standing at shows. As I understand it even in the 70s a genesis audience would sit the whole time so it was a little out of place but still I admired how into it he was. Then after three minutes he left to go get a beer. I don't understand people.
People should be tested before buying tickets. Are you going to actually pay more attention to the show than your friends/your phone etc.? If you're going to spend large parts of the show talking to your friends, you might as well have spent your ticket money on an evening somewhere more sociable, like a restaurant or a pub.
I'm too old now to stand for an entire concert :lol, so I will usually pick my spots. I am not going to stand for a whole concert because the band tells me to, but if someone in front of me wants to stand and rock out, have at it.
People should be tested before buying tickets. Are you going to actually pay more attention to the show than your friends/your phone etc.? If you're going to spend large parts of the show talking to your friends, you might as well have spent your ticket money on an evening somewhere more sociable, like a restaurant or a pub.
Reminds me a Marillion show I saw near Philly a year and a half ago. People would not stop going back and forth all night to get beer/pee. ALL NIGHT. It was so distracting. The singer even commented on how many people were up and about rather than remaining seated. I had to tell a guy to sit down or move to the side because he was the only bozo standing up in the seated area and he happened to be right in front of me and I was beyond pissed off at that point. Can't people enjoy a concert anymore without drinking endless beer?
I would like to keep this discussion up, so: I have been listening to We Can't Dance the past days (I know right, he gets the green box sets and then listens to WCD!?) and I think it's actually a pretty good album. It doesn't have the triggered, programmed (whatever you want to call it) drums from Invisible Touch and Genesis. I am talking about those specific sounds in Second Home By The Sea, Silver Rainbow, Invisible Touch, Tonight, etc. The drums here are overproduced as hell (as is the whole album) but I think it just sounds awesome. The first time I really listened to No Son Of Mine and the snare came in like a slap in the face - I was pretty impressed. If a snare is triggered - please trigger it like this.
Plus, the album has some great songs. The mentioned No So Son of mine is way too long and thought through to be a single, but still it was one - and a huge hit at that. Jesus He Knows Me is saved by Phils groovy drumming and belongs in the funny, sarcastic department of Robber, Assault, Just A Job, Harold The Barrel, Scenes From A Night's Dream. I even like Tell Me Why quite a bit, the harmonies are not stupid (Tony!) and it grooves. Sure, lyrics are a little flat, but still a good song. Did I say groove? Listen to the last minutes of Living Forever. Two of the best minutes of the album. This is a great example of how few Collins needs to make something groove. And the ending fill is awesome. Man what a drummer.
There's also two 10 minute songs, of which I personally like Fading Lights better. The keyboard solo (Tony!) in the middle reminds of older days. The whole song sounds like a swan song - which it was for in retrospective for the trio (not sure if they knew so though).
Dreaming While You Sleep is a Mama/In The Air Tonight like song (I dont want to say copy): drum machine, Collins eery vocals, HUGE toms, cymbal-free drums. I gotta say I also like Hold On My Heart, because of Tonys unconventional harmonies (Tony!).
There are two songs I would have included into the album: On The Shoreline and Hearts On Fire, which should have replaced Never A Time and Since I Lost You or Way Of The World imo. Two awesome tunes.
This got a bit out of hand I didn't want to write so much but then I did :-D
What do you think about this album? I think it's a bit underrated among Genesis and Prog fans, but in a lot of ways it takes more time to build up songs and set moods than the loud, happy, dancy Invisible Touch. And it's not really a prog-free album.
Reminds me a Marillion show I saw near Philly a year and a half ago. People would not stop going back and forth all night to get beer/pee. ALL NIGHT. It was so distracting. The singer even commented on how many people were up and about rather than remaining seated. I had to tell a guy to sit down or move to the side because he was the only bozo standing up in the seated area and he happened to be right in front of me and I was beyond pissed off at that point. Can't people enjoy a concert anymore without drinking endless beer?
I was there too.
I'm probably in the minority on this but I only go to see the band. I don't need to be entertained in any other way. I just get off on that.
Don't need to be there if the band doesn't do it for me.
Reminds me a Marillion show I saw near Philly a year and a half ago. People would not stop going back and forth all night to get beer/pee. ALL NIGHT. It was so distracting. The singer even commented on how many people were up and about rather than remaining seated. I had to tell a guy to sit down or move to the side because he was the only bozo standing up in the seated area and he happened to be right in front of me and I was beyond pissed off at that point. Can't people enjoy a concert anymore without drinking endless beer?
I was there too.
I'm probably in the minority on this but I only go to see the band. I don't need to be entertained in any other way. I just get off on that.
Don't need to be there if the band doesn't do it for me.
I'll have a beer or two at the show, and if I'm meeting people maybe a couple more before, but I haven't been truly wasted at a show for over 25 years. I can do that on my porch, I don't need to spend $100 and drive an hour to do that.
There are some fantastic songs on ATTWT, such as Down and Out, Undertow (such a beautiful chorus, probably Banks' greatest), Burning Rope, The Lady Lies and the very original 'pop' song Follow You Follow Me. Some of what remains isn't the strongest quality in my opinion, placing it low down on my Genesis album ranking, but as Orbert wrote it's definitely an important step in the evolution of the band. It's actually a fascinating album because it's so uneven, it's like listening to the band trying to find their new voice as a 3-piece, something they would master to perfection on the next album Duke.
I like ...And Then There Were Three..., but that album was also the first studio album of their that I heard. I was able to appreciate it without comparing it to the more complex stuff which came before it, because I was just getting into them. From there, I was also able to observe the continued evolution of the band into the 80's and beyond, and to explore the proggier back catalog as well. I honestly don't feel that it's a horrible weak link or anything like a lot of Genesis fans seems to think. It's a transitional album.
Undertow (such a beautiful chorus, probably Banks' greatest)
Wow, that list puts Car (PG I) as Gabriel's least best album. Can't get behind that at all.
Also, I gotta give a shout out to "Never A Time" from We Can't Dance. What a wonderful song. :)
Just finished reading Phils Bio Not Desd Yet. Highly recommended. Very honest bio and a lot of Genesis tidbits.
I'm ashamed to say that I never really explored the Genesis back catalog until now. I'd heard many of their songs here and there since I was a child, but I'd always been more of a prog metal guy so I never went further. The only album I owned was We Can't Dance because it came out when I was 12 and just getting into music. (Phil's solo stuff has always been a guilty pleasure of mine, although I only own Both Sides and Hits.) Well, for some reason, I read something in Prog magazine last week that inspired me to start sinking my teeth into their stuff once and for all. I started out by buying all the other albums with Phil, Tony and Mike (And Then There Were Three through Invisible Touch) for cheap on eBay. I know this is considered by many to be their "pop" era, but I prefer to start with the most recent stuff and work my way back. I'm currently obsessing over Duke. Wow! What a great album! I can't wait to see what else is in store for me. :)
Also, I gotta give a shout out to "Never A Time" from We Can't Dance. What a wonderful song. :)
Working backwards should be pretty interesting. I think overall, A Trick Of The Tail and Selling England are their best and I'm curious what your favorites will be.
Well, my first album working my way backwards was Invisible Touch (I'd already owned We Can't Dance), and I also watched a two-hour show from the Invisible Touch tour at Wembley Stadium. The crowd was massive and I really loved the drum duet solo between Phil and the band's touring drummer. Big respect to Phil for that one, and for jumping back and forth between drums and vocals throughout the show. Obviously, I already recognized a bunch of the songs from that album. I think I already knew five of the eight songs -- including "Tonight, Tonight, Tonight" and "In Too Deep," both of which I really really love. But the biggest surprise for me was probably "The Brazilian" -- what a great instrumental! Totally did not see that one coming. It gave me a bit of a Rush vibe. Anyway, next I'm moving along to the self-titled album that starts with "Mama."
Chester Thompson, FYI. Big fan of the live version of The Brazilian as well, good call.
Thats a great suggestion...as it also creates a neat line between boxed sets 2 and 3.
Thats a great suggestion...as it also creates a neat line between boxed sets 2 and 3.
I've got 2.
Never bothered with 1 or 3 even though the self-titled and Calling All Stations would be my favorites from that one. I figure either the originals or the first set of remasters are pretty much enough for me on those fronts.
Ytse, as someone that strikes me as a completist, it depends on whether you want the 5.1 mixes or not. Bear in mind that Nick Davis had to remix the stereo mixes too (so they are slightly different) but for me the 5.1 mixes are essential (other than Crimson, the best I've ever heard) and the sound improvement on both 1 and 3 are meaningful (1 is more clear and dynamic, and 3 has a little more substance to both self titled and Invisible Touch). I don't think I'd drop $100 on them if you're not into the 5.1, but if you can find them in a pawn shop or something, they'd be worth it to have.
I'm assuming you have most of the "bonus" stuff - Shepperton, some of the 90's rehearsal footage, the b-sides - anyway, but there's that too.
I found that interesting as well. But then, I was surprised when I found out how much unused material there was from the last album. I never bothered doing the math, but I think there's more that they didn't use than what they put on the album. And it all has that "unfinished" feel to it. Like demos that they never quite polished up, which makes it all the more disappointing. I thought that CAS had a lot of potential, but I rarely listen to it because it all sounds like it's not quite ready, not quite finished, especially the way nearly everything fades out, sometimes right in the middle of a verse or instrumental.
If they'd spent more time polishing up the keepers and less time apparently recording everything they'd cooked up, I think the album could have been really good. As it is, I think it's just okay, and overall a bit disappointing considering the potential.
My only comment is going to sound like a massive burn, but it's not (though it's not really my personal preference): The band is very VERY good, but it sounds like Mike Portnoy is sitting in with the band, and not Phil. One of the most beautiful things about Genesis - for me, anyway - is the way the instruments sat with each other. Phil didn't compete with Tony, who didn't compete with Mike, etc., and here the drums look to be in the same sort of sonic space as the guitars. Genesis (in my opinion) was very influenced by Zeppelin in that way and after seeing Steve Hackett live earlier this week playing Selling England... in it's entirety, I'm pretty convinced that had some role in his leaving.I see what you mean by that, but Genesis were the exact opposite (musically speaking) IMHO. Btw, Genesis were the first ever prog band I discovered at age 2 (them and Yes as well, but they were the first band for me. DT came along a lot later, at age 8) and I love them to bits to this day. Never saw them live, sadly. Anyway, massively influential band for Prog as a whole IMHO (and criminally underrated as musicians too IMHO, especially Banksie and PC)
My only comment is going to sound like a massive burn, but it's not (though it's not really my personal preference): The band is very VERY good, but it sounds like Mike Portnoy is sitting in with the band, and not Phil. One of the most beautiful things about Genesis - for me, anyway - is the way the instruments sat with each other. Phil didn't compete with Tony, who didn't compete with Mike, etc., and here the drums look to be in the same sort of sonic space as the guitars. Genesis (in my opinion) was very influenced by Zeppelin in that way and after seeing Steve Hackett live earlier this week playing Selling England... in it's entirety, I'm pretty convinced that had some role in his leaving.I see what you mean by that, but Genesis were the exact opposite (musically speaking) IMHO. Btw, Genesis were the first ever prog band I discovered at age 2 (them and Yes as well, but they were the first band for me. DT came along a lot later, at age 8) and I love them to bits to this day. Never saw them live, sadly. Anyway, massively influential band for Prog as a whole IMHO (and criminally underrated as musicians too IMHO, especially Banksie and PC)
My only comment is going to sound like a massive burn, but it's not (though it's not really my personal preference): The band is very VERY good, but it sounds like Mike Portnoy is sitting in with the band, and not Phil. One of the most beautiful things about Genesis - for me, anyway - is the way the instruments sat with each other. Phil didn't compete with Tony, who didn't compete with Mike, etc., and here the drums look to be in the same sort of sonic space as the guitars. Genesis (in my opinion) was very influenced by Zeppelin in that way and after seeing Steve Hackett live earlier this week playing Selling England... in it's entirety, I'm pretty convinced that had some role in his leaving.I see what you mean by that, but Genesis were the exact opposite (musically speaking) IMHO. Btw, Genesis were the first ever prog band I discovered at age 2 (them and Yes as well, but they were the first band for me. DT came along a lot later, at age 8) and I love them to bits to this day. Never saw them live, sadly. Anyway, massively influential band for Prog as a whole IMHO (and criminally underrated as musicians too IMHO, especially Banksie and PC)
Good stuff: https://www.youtube.com/watch?v=qhJEcRx6CXc
Rutherford was, IMO, mostly average as a guitarist and a bit better than average as a bassist (although he had a few lines that are really good). Hackett was very good for what he did, but Steve Howe was far superior in just about every way.
Hackett was very good for what he did, but Steve Howe was far superior in just about every way.
Can you enlighten us all on "how to listen to music properly"?
Rutherford was, IMO, mostly average as a guitarist and a bit better than average as a bassist (although he had a few lines that are really good). Hackett was very good for what he did, but Steve Howe was far superior in just about every way.
I'll have to say I disagree. Being a musician myself, I started listening to Genesis from early 70's and on, sucking every note they played. And one thing I can say for sure, they are all excellent musicians, including MR. His performance on Watcher of the Skies f.ex., is, together with the rest of the band, marvellous. Playing that riff throughout the song is an accomplishment in itself. Same as all their epics, where they often used to put in sections of musical madness, he's following the band with ease. And to make someting sound easy, doesn't mean it's also easy to play. On 'The Lady Lies' from 'And Then There Were Three' he starts out with a typical solid MR riff, and then in the section in the middle, they all go crazy in a fusion-type playing style. Again, he does it with ease. 'He had a few lines that are really good' - that's a hilarious statement. MR's playing is strong and full of character, something that you obviously can't grasp. I can only think that you don't know how to listen to music properly.
And then again, he's 'average' as a guitar player? What are you talking about? Would Genesis really play with an 'average guitar player'? The problem is that you don't understand his subtle and elegant style. MR always knew how to dial in a sound which suited perfectly to the song. His playing on 'We Can't Dance' is superb. The tasteful licks on 'Driving The Last Spike' has a quality that is not recognized by someone not familiar with the talents of real musicians.Hackett was very good for what he did, but Steve Howe was far superior in just about every way.
Again, you fail big time. First, it has no meaning to compare two excellent musicians with a 'mine is bigger than yours' type of proof. Howe being superior in every way? Do you know that Hackett is an accomplished classical guitarist and recorded an album with exclusively classical pieces ('Tribute'). On that he performs a 15 min. composition of Bach's 'Chaconne'. Everyone in the world of classical guitar know how difficult this piece is. I have myself been playing classical guitar for nearly 50 years, and the last 5-6 years I have practised on Chaconne and can play about 5 min. of it without too many errors. But then the difficult parts appear and most are lost here, including myself. Hackett plays the whole piece with ease. And what I mentioned above, playing with ease doesn't mean it's easy. I don't think you know anything about what it takes to reach a level like that on classical guitar. I'll tell you it means 5-6-7 hours of practise EVERY DAY. Howe doesn't play classical guitar, it's not his thing. Do I then say that Hackett is the better player? No. I enjoy listening to both, but they are different players.
Rutherford was, IMO, mostly average as a guitarist and a bit better than average as a bassist (although he had a few lines that are really good). Hackett was very good for what he did, but Steve Howe was far superior in just about every way.
I'll have to say I disagree. Being a musician myself, I started listening to Genesis from early 70's and on, sucking every note they played. And one thing I can say for sure, they are all excellent musicians, including MR. His performance on Watcher of the Skies f.ex., is, together with the rest of the band, marvellous. Playing that riff throughout the song is an accomplishment in itself. Same as all their epics, where they often used to put in sections of musical madness, he's following the band with ease. And to make someting sound easy, doesn't mean it's also easy to play. On 'The Lady Lies' from 'And Then There Were Three' he starts out with a typical solid MR riff, and then in the section in the middle, they all go crazy in a fusion-type playing style. Again, he does it with ease. 'He had a few lines that are really good' - that's a hilarious statement. MR's playing is strong and full of character, something that you obviously can't grasp. I can only think that you don't know how to listen to music properly.
And then again, he's 'average' as a guitar player? What are you talking about? Would Genesis really play with an 'average guitar player'? The problem is that you don't understand his subtle and elegant style. MR always knew how to dial in a sound which suited perfectly to the song. His playing on 'We Can't Dance' is superb. The tasteful licks on 'Driving The Last Spike' has a quality that is not recognized by someone not familiar with the talents of real musicians.Hackett was very good for what he did, but Steve Howe was far superior in just about every way.
Again, you fail big time. First, it has no meaning to compare two excellent musicians with a 'mine is bigger than yours' type of proof. Howe being superior in every way? Do you know that Hackett is an accomplished classical guitarist and recorded an album with exclusively classical pieces ('Tribute'). On that he performs a 15 min. composition of Bach's 'Chaconne'. Everyone in the world of classical guitar know how difficult this piece is. I have myself been playing classical guitar for nearly 50 years, and the last 5-6 years I have practised on Chaconne and can play about 5 min. of it without too many errors. But then the difficult parts appear and most are lost here, including myself. Hackett plays the whole piece with ease. And what I mentioned above, playing with ease doesn't mean it's easy. I don't think you know anything about what it takes to reach a level like that on classical guitar. I'll tell you it means 5-6-7 hours of practise EVERY DAY. Howe doesn't play classical guitar, it's not his thing. Do I then say that Hackett is the better player? No. I enjoy listening to both, but they are different players.
I'll extend you more respect than you deserve and that you extended to me and simply tell you to piss off. I simply stated my opinions in response to someone else stating his opinions. I didn't criticize the person whose opinions I responded to. Nor did I use "a 'mine is bigger than yours' type of proof." Indeed, I didn't attempt to "prove" my opinions at all (as thought it's possible to prove an opinion). You're more than welcome to have different opinions and express those opinions, but don't be an asshat about it.
Wow, that's cool! Yea i've seen those, great stuff! :tupGood stuff: https://www.youtube.com/watch?v=qhJEcRx6CXc
The guitarist is my former teacher and a good friend of mine. He's a beast on the guitar and a great guy! I love the medleys those guys do. They also have a great one for Toto and one for Pink Floyd.
I've been trying to convince him to do a DT one.
Yeah, I'm no mod, but I know trolling when I see it. Sorry, PG, you're on your own here. ;) :)
So I want to start getting the Genesis catalog, specifically the Gabriel-era and Gabriel-less proggy albums. I was initially given some MP3s of some early songs but now want to expand upon it. In trying to do some research on different remixed/remastered versions that are out there, I'm getting the feeling that some of these remastered versions are sub-par in sonic quality.
So for those that have the knowledge, is there a specific remixed/remastered version that are the ones to get? How is the '70-'75 box set remixes? I've invested in upgrading my home stereo equipment and now am working to get better sonic quality versions of some older albums.
Another thumbs up from me for the boxed sets. Best investment to my music collection I ever made.
Still need to get the live one.
Wait, five?
The three studio, and the live one....what's the fifth?
The Movie Box
Wait, five?
The three studio, and the live one....what's the fifth?The Movie Box
Correct! And here's a pic I took of my box sets, way back in January 2011, so please forgive the potato-quality of the picture (taken on a phone's camera):
https://imgur.com/wGrK5hD
(https://i.imgur.com/wGrK5hD.jpg)
Looking back at my Amazon orders, I got the 76-82 set for $88 shipped and the 83-98 set for $73 shipped in Jan 2008. Fast forward, I then got the Live set for $90 shipped and the 70-75 set for $88 shipped back in May 2010, and later that year in December, got the Movie box for $68 shipped. Just a bit over $400 in all in that picture above, but it's totally worth it considering the secondary market prices on some of these box sets alone!
-Marc.
Wow, Marc, I easily paid twice as much for them :loser:
And THEN I started collecting the vinyl box sets.......... :lol
Wait, five?
The three studio, and the live one....what's the fifth?The Movie Box
Correct! And here's a pic I took of my box sets, way back in January 2011, so please forgive the potato-quality of the picture (taken on a phone's camera):
https://imgur.com/wGrK5hD
(https://i.imgur.com/wGrK5hD.jpg)
Looking back at my Amazon orders, I got the 76-82 set for $88 shipped and the 83-98 set for $73 shipped in Jan 2008. Fast forward, I then got the Live set for $90 shipped and the 70-75 set for $88 shipped back in May 2010, and later that year in December, got the Movie box for $68 shipped. Just a bit over $400 in all in that picture above, but it's totally worth it considering the secondary market prices on some of these box sets alone!
-Marc.
Wow, Marc, I easily paid twice as much for them :loser:
And THEN I started collecting the vinyl box sets.......... :lol
OOF... I am so glad I am not invested into collecting vinyl - those box sets would have KILLED me financially as I am sure they are not cheap.
I guess I got my CD sets at a good time, not too long after they came out, but not right when they were new and people were probably price-gouging them.
-Marc.
Recent pics of Banks, Rutherford and Collins hanging together have sparked reunion questions.
It would be amazing for them to put out a new album. Probably not likely but I sure would love it.
The Lamb Lies Down on Broadway Illustrated
https://www.youtube.com/watch?v=JszTrQdL314&feature=emb_title
Don't get my hopes up... I went through a MASSIVE Genesis kick about a month ago, and it was just so fulfilling (yes, that's the exact word I want to use). I even debated going to see a Genesis four-man tribute band earlier this month (but ultimately couldn't). ;) :)
The Lamb Lies Down on Broadway Illustrated
https://www.youtube.com/watch?v=JszTrQdL314&feature=emb_title (https://www.youtube.com/watch?v=JszTrQdL314&feature=emb_title)
When I saw this link earlier, I assumed it was just the song. But it's an hour and a half long video!! Is it the ENTIRE ALBUM??? THIS IS AWESOME!!!
Hey guys, quick question: I was watching a Genesis ranking video yesterday...I haven't watched the video, but according to discogs there isn't any 2-disc release of these albums. It is probably the 2007/2008 CD+DVD version.
https://www.youtube.com/watch?v=eJHacEDPL50&t=5s
...and I noticed that the guy sometimes holds up 2-disc editions of the albums (for example of Foxtrot and Selling England By the Pound). I can't find any info on these editions, and the albums' Wikipedia pages make no mention of double disc versions ever being released. Does anyone own these editions? If so, can you tell me what's the 2nd discs? Much obliged.
Thanks guys. So the DVDs are just the album tracks?yes, but with a surround mix (and probably high-res stereo, 24 bit and all that, not sure about that though), also including interviews by the band members and other video content in some cases
The only 5.1 mixes that come close to the Genesis ones are the King Crimson ones. I agree with Jammin, those are some of the best box sets I own.
Full disclosure: the mixes on the 2-disc versions are SLIGHTLY different (though you may not even notice). They had to be remixed to facilitate the surround mixes. I know I've kept the "Definitive Edition Remasters" as well, as they reflect the original mixes. To be honest, I can't really point to even one instance where they are noticeably different. But if you're a completist...
The interviews ARE worth it, though I can't imagine you'll come back to them more than once or twice.
I should be excited, but I'm not.
Some old men playing the same music live, that they played on their last tour and probably on a couple of tours before that? And it's probably expensive. Not really interested in that. Now if they would change the set list and pull out some deep cuts and/or have Peter Gabriel and/or Steve Hackett for a couple of guest spots, that would get me excited, but that's probably not gonna happen.
Terrific news for Genesis fans! Whilst Phil, Mike and Tony prioritise the 80s, my show celebrates the 70s classics, including the whole of Seconds Out late 20/early 21...
They're never going to do anything out of the ordinary or from their early early days. ...they just seem embarrassed by it. "Old material" probably means stuff from Duke/Abacab
Well I got my tickets!
Cheapest tickets for the first night at the SSE Hydro, I'm at the back/top but still really excited. Genesis were one of the first bands I knew of growing up. I know it isn't considered their best album but I grew up listening to We Can't Dance and in my later teens and 20s I discovered the rest of their discography and just how wonderful and varied it all is.
I'm also seeing Steve Hackett a month before at the Edinburgh Playhouse which should be incredible too.
Steve Hackett confuses me. He was in Genesis for four years of their 40-year run, and left the band. Since then he's had very little positive to say about his time with Genesis or the other members. Yet for the past several years, his entire gig is based on the few years he was in Genesis.
His Genesis Revisited shows are, by all accounts, very good. Great musicians, great music, great show. So of course he takes a moment to congratulate the core trio, and a somewhat longer moment to pimp his own band, taking a shot at the trio disguised as a compliment.
Ugh, Genesis, my beloved Genesis.
Of course they'd release the concerts that every fan already has in their collection. Instead of unreleased video material. I'm sure there IS something.
I'll still take this as opportunity to re-watch them all. I hope the quality is good.
Ugh, Genesis, my beloved Genesis.
Of course they'd release the concerts that every fan already has in their collection. Instead of unreleased video material. I'm sure there IS something.
I'll still take this as opportunity to re-watch them all. I hope the quality is good.
Lots of complaints on the FB page about this very point, but I guess the counter-argument is that the band doesn't have the legal rights to anything beyond what has already been released, so they're stuck with it.
Someone even said that there's a full show of the TotT (I think) show that was released in part to theaters...but the band only has the rights to the finished product, while the filmmaker still holds the rights to the original film. And I guess the band wanted to buy it from him at one point, but he wanted an insane amount of money, so they walked away.
I don't know if this is the place or not, but I got Phil's "Going Back" this weekend, and while it's not for everyone, if you're a fan of some of those 60's Mo-town (and Mo-town-esque) tracks, this is a real find. He does them faithfully and with love, and it's a good listen. I think if you're a purist you might have issue, but I'm not, so...
(And it's always amazing how many songs I know that I had no idea of the title or who did them. "Uptight (Everybody's Alright)" was the real revelation here. I've heard that song 100 times or more, and LOVE it, and had no idea that it was Stevie Wonder, or the title was "Uptight", or even that that was what was sung after the "Everybody's alright" refrain. (The lyric is "Everybody's alright! Uptight! Outta sight!")
(And it's always amazing how many songs I know that I had no idea of the title or who did them. "Uptight (Everybody's Alright)" was the real revelation here. I've heard that song 100 times or more, and LOVE it, and had no idea that it was Stevie Wonder, or the title was "Uptight", or even that that was what was sung after the "Everybody's alright" refrain. (The lyric is "Everybody's alright! Uptight! Outta sight!")
I don't know if this is the place or not, but I got Phil's "Going Back" this weekend, and while it's not for everyone, if you're a fan of some of those 60's Mo-town (and Mo-town-esque) tracks, this is a real find. He does them faithfully and with love, and it's a good listen. I think if you're a purist you might have issue, but I'm not, so...
(And it's always amazing how many songs I know that I had no idea of the title or who did them. "Uptight (Everybody's Alright)" was the real revelation here. I've heard that song 100 times or more, and LOVE it, and had no idea that it was Stevie Wonder, or the title was "Uptight", or even that that was what was sung after the "Everybody's alright" refrain. (The lyric is "Everybody's alright! Uptight! Outta sight!")
I think the keyword here is "love": this album is really done with love. And if there's one thing I like about Phil's music, it's the honesty it's made with. He does what he does, no matter what critics (and old-school Genesis fans lol) will say, and he loves doing it :)
He isn't????
I don't understand that at all. He is arguably one of the 5 biggest pop stars in music history. No one can fill a 2,5 hours concert with only songs that every normal person would recognise, even if they aren't a Collins fan (with the possible exception of Paul McCartney).
Thanks for the heads up on this! I thoroughly enjoyed Three Sides Live tonight. I look forward to watching the Mama tour next week. I don't think I ever saw that film and I'm bummed I didn't see that tour live back into in the day at one of the 3 nights at the Spectrum in Philly.
Thanks for the heads up on this! I thoroughly enjoyed Three Sides Live tonight. I look forward to watching the Mama tour next week. I don't think I ever saw that film and I'm bummed I didn't see that tour live back into in the day at one of the 3 nights at the Spectrum in Philly.
Watching Three Sides Live online for like the 5th of 6th time. Probably like the CD more because there is more music but I forgot about the incidental vignettes sprinkled throughout so that was cool to watch too, but I wish there was a version without that when I just want the music. They were totally on fire. Great balance of old and new. (I keep playing Abacab over and over again!)
I still may need to get the DVD. I'll watch the Mama Tour too and then I'm out. MAYBE I'll hang around for the Invisible Touch Tour.
I don't know if this is the place or not, but I got Phil's "Going Back" this weekend, and while it's not for everyone, if you're a fan of some of those 60's Mo-town (and Mo-town-esque) tracks, this is a real find. He does them faithfully and with love, and it's a good listen. I think if you're a purist you might have issue, but I'm not, so...
(And it's always amazing how many songs I know that I had no idea of the title or who did them. "Uptight (Everybody's Alright)" was the real revelation here. I've heard that song 100 times or more, and LOVE it, and had no idea that it was Stevie Wonder, or the title was "Uptight", or even that that was what was sung after the "Everybody's alright" refrain. (The lyric is "Everybody's alright! Uptight! Outta sight!")
Watching Three Sides Live online for like the 5th of 6th time. Probably like the CD more because there is more music but I forgot about the incidental vignettes sprinkled throughout so that was cool to watch too, but I wish there was a version without that when I just want the music. They were totally on fire. Great balance of old and new. (I keep playing Abacab over and over again!)
Watching Three Sides Live online for like the 5th of 6th time. Probably like the CD more because there is more music but I forgot about the incidental vignettes sprinkled throughout so that was cool to watch too, but I wish there was a version without that when I just want the music. They were totally on fire. Great balance of old and new. (I keep playing Abacab over and over again!)
Those cuts drive me crazy. This is one of my favorite videos because of the music, but the editing makes me want to hurt someone. Nowadays, they'd probably include the interviews and other stuff as "bonus material" on the DVD or Blu-ray, but back in the VHS era, this was how they did it. I bought the Blu-ray, hoping that there was some kind of option to just watch the concert footage, but nope. At least you can skip to the next segment.
Someone turned me on to The Garden Tapes a few years back, and I read a bunch of it, including a lot of the ridiculous editing done to The Song Remains the Same.
I would always prefer a live album to be an actual, unedited recording of a live performance. I used to think that it must be because I myself am a musician who lives for live performance. I want to hear what they played, every note both good and bad. But obviously Jimmy Page and many others are also musicians, and there are those who want to hear the "ideal" live performance. If you could hear the song played live, perfectly, capturing all the excitement of a live performance, the sponaneity, the one-time moments of musical brilliance, wouldn't you want to hear that? Well, sure. That's what Jimmy seems to be striving for by editing two notes out of one performance and replacing them with those from another. Completely removing a measure here or there that didn't work, and simply splicing the results together. And so on. I used to think that minor edits are probably okay, but at that point we're on the slippery slope. If some edits are okay, why not others? What is "minor"? So okay, now I'm pretty much against any editing. Give me the raw tapes. Maybe that's part of what I liked about the original TSRTS recordings; that flaw in the keyboard solo reminded me that it's live and no one has messed with the recording. Then I found out that that was edited to hell and back also. So now I don't know what to think. Live recordings aren't live. Time, space, and life itself no longer have meaning.
I don't remember now what my point was going to be.
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
2-4 aren't terribly unheard of. But you're literally the only Genesis fan I've ever known to put ATTWT as a #1 all time favorite.
Abrams Planeterium at Michigan State would do laser light shows to albums for many years, and their sound system was to die for. This album was my first visit, and I was slightly 'mood enhanced' ;) I do recall the 'stars' circling above, gradually building up speed, and then when the tempo changed, the stars would reverse direction. The chairs didn't move, but some people actually fell off at those moments.
Purchased the vinyl the next day.
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
I have a hard time with these rankings. One day I have a favorite, another day it has changed. That's why rankings will never work for me.
But one thing I agree about is that '..And Then There Were Three...' has gotten better and better with the years. And I especially enjoy Mike Rutherford's masterful playing. I call it discrete and elegant...even the 'pop' song 'Follow You Follow Me' gets inside me like never before. I'm not sure, but I think perhaps this is the first song where Mike introduced his signature 'tika-tok' playing style (sorry, can't describe it better, but I think you know what I mean). It might sound easy, but it's not.
With ...and then there were three..., Mike had to step up. He'd always played guitar in the band as well as bass, but this was the first album where he had to do both. Also, as sole guitarist, he clearly wanted to show that he could fill the gap. Maybe he's no Steve Hackett, but he takes some nice leads, and his sounds are very similar to Hackett's, and also to Anthony Phillips before him. I like what he does here, as well as on the later albums.
What Genesis lost when they went three-piece was the acoustic side. Those wonderful interludes with acoustic six- and 12-string guitars and Tony's piano. And it's a bit confusing as well, because that was part of the Genesis sound before Hackett joined, so there was no real reason to lose it when he left. Maybe it was a decision based more on the direction the band was going in at the time.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins. They sound like another band, far from the Genesis I knew and loved. They got some excellent session drummers in it as well, but they can't catch the spirit of Genesis IMO. The singer tries to copy Peter Gabriel, but fails. What still makes me play it is Mike's guitar work and of course, Tony. When I heard it the first time, my immediate thought was that it sounded like one of Tony's solo efforts, which never did much for me, it was like he went from prog to pop, and not pop in the 'Genesis style', if it makes sense. Oh, whatever...
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins. They sound like another band, far from the Genesis I knew and loved. They got some excellent session drummers in it as well, but they can't catch the spirit of Genesis IMO. The singer tries to copy Peter Gabriel, but fails. What still makes me play it is Mike's guitar work and of course, Tony. When I heard it the first time, my immediate thought was that it sounded like one of Tony's solo efforts, which never did much for me, it was like he went from prog to pop, and not pop in the 'Genesis style', if it makes sense. Oh, whatever...
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
Yeah, I generally shy away from rankings for this reason. There are some albums or songs by certain bands that have had such an obvious impact on me that I consider them favorites, but trying to be objective about even my own subjective preferences is a seemingly impossible task.
Its generally easier to identify the albums I dont care for (The Lamb and Trespass), or which ones I think of less fondly than others (We Cant Dance and Calling All Stations, which I still do like), than it is to say I definitively like Wind & Wuthering better than Abacab or Nursery Cryme.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins.
Calling All Stations is not as bad a record as many people make out. I agree that Mike and Tony definitely shine on this. Problem is, like you say, the missing DNA. A lot of the songs sound like over-produced demos. Like they really needed more thoughtful arranging with solid beginnings, middles, and ends. Instead they just seem to loop through the ideas presented until the obligatory fade out. Makes it sound like they couldn't figure out how to properly end any of the songs.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins. They sound like another band, far from the Genesis I knew and loved. They got some excellent session drummers in it as well, but they can't catch the spirit of Genesis IMO. The singer tries to copy Peter Gabriel, but fails. What still makes me play it is Mike's guitar work and of course, Tony. When I heard it the first time, my immediate thought was that it sounded like one of Tony's solo efforts, which never did much for me, it was like he went from prog to pop, and not pop in the 'Genesis style', if it makes sense. Oh, whatever...
There are some real high points on CAS: Uncertain Weather, The Dividing Line, There Must Be Some Other Way, One Mans Fool. I also like the title track and Congo just fine for what they are. I dont hate Shipwrecked or Not About Us even, though they dont seem like Genesis songs. It does seem like a new project though more than a continuation of Genesis if that makes sense. Like Tony Banks and Rutherfords solo/side projects mixed.
There are also several strong tracks that didnt make the album that would have really improved the final project, and they definitely missed an opportunity in picking Ray Wilson over David Longdon (Big Big Train) as the singer. I like Wilson to an extent, but Longdon would have given them a more charismatic voice who could pull off both the Collins and Gabriel material.
I'm not as much a fan of the b-sides as many who like this album seem to be. I mean...there's a lot of them! Like 8 or 9? I can only think of one which I really like and felt it should have been on the album. I think it was 'Run Out of Time'. There may have been another one. I'll have to go back and revisit them at some point.
Cheers!
The Musical Box, a popular Genesis "recreation", has a part* in their typical "Selling England By The Pound" setlist (the one they play most often) where "Steve", "Mike" and "Tony" are all playing acoustic guitar and watching that in a theater is just magical. That's one of the few shows I go and just close my eyes and listen for about an hour and 45 minutes.
* I can't remember if it's The Musical Box song, or Supper's Ready; I'm almost positive it's not The Cinema Show, though I'm not betting money on it. All three songs feature Tony's guitar, and all three are in the set, so...
Watching Three Sides Live online for like the 5th of 6th time. Probably like the CD more because there is more music but I forgot about the incidental vignettes sprinkled throughout so that was cool to watch too, but I wish there was a version without that when I just want the music. They were totally on fire. Great balance of old and new. (I keep playing Abacab over and over again!)
Those cuts drive me crazy. This is one of my favorite videos because of the music, but the editing makes me want to hurt someone. Nowadays, they'd probably include the interviews and other stuff as "bonus material" on the DVD or Blu-ray, but back in the VHS era, this was how they did it. I bought the Blu-ray, hoping that there was some kind of option to just watch the concert footage, but nope. At least you can skip to the next segment.
Yep, all of that sounds pretty familiar, and I agree with the complaints regarding The Song Remains the Same. I happen to like the original CD version, but there's an obvious audio flaw during the keyboard solo in "No Quarter". I assumed that they ("they" probably meaning Jimmy Page) would fix that, but instead they just used a different performance from a different night. Crap. I really like that solo; I just wanted to hear it fixed.
My two favorite Genesis periods are 1976 (the four-piece era) and early 80's (Three Sides Live). And those are the two era almost devoid of decent video releases. :(
I'm not suggesting you read all of this (though I did when I ripped my Zeppelin to hard drive; I now have three versions to listen to!), but just the fact that it exists is fascinating to me.
The Garden Tapes
www.thegardentapes.co.uk
Page clearly took a lot of time and effort to assemble all four versions of TSRTS (as well as the MSG material that made it onto the Led Zeppelin DVD) but with all that, it's STILL maddening that so many instances of seemingly "poor choices" exist. I have to believe there's a reason for what was done - and we just don't know what it is - but some of those songs were utterly butchered if you believe this. Black Dog, Heartbreaker, Dazed And Confused, Whole Lotta Love and Moby Dick are the obvious examples.
Someone turned me on to The Garden Tapes a few years back, and I read a bunch of it, including a lot of the ridiculous editing done to The Song Remains the Same.
I would always prefer a live album to be an actual, unedited recording of a live performance. I used to think that it must be because I myself am a musician who lives for live performance. I want to hear what they played, every note both good and bad. But obviously Jimmy Page and many others are also musicians, and there are those who want to hear the "ideal" live performance. If you could hear the song played live, perfectly, capturing all the excitement of a live performance, the sponaneity, the one-time moments of musical brilliance, wouldn't you want to hear that? Well, sure. That's what Jimmy seems to be striving for by editing two notes out of one performance and replacing them with those from another. Completely removing a measure here or there that didn't work, and simply splicing the results together. And so on. I used to think that minor edits are probably okay, but at that point we're on the slippery slope. If some edits are okay, why not others? What is "minor"? So okay, now I'm pretty much against any editing. Give me the raw tapes. Maybe that's part of what I liked about the original TSRTS recordings; that flaw in the keyboard solo reminded me that it's live and no one has messed with the recording. Then I found out that that was edited to hell and back also. So now I don't know what to think. Live recordings aren't live. Time, space, and life itself no longer have meaning.
I don't remember now what my point was going to be.
Someone turned me on to The Garden Tapes a few years back, and I read a bunch of it, including a lot of the ridiculous editing done to The Song Remains the Same.
I would always prefer a live album to be an actual, unedited recording of a live performance. I used to think that it must be because I myself am a musician who lives for live performance. I want to hear what they played, every note both good and bad. But obviously Jimmy Page and many others are also musicians, and there are those who want to hear the "ideal" live performance. If you could hear the song played live, perfectly, capturing all the excitement of a live performance, the sponaneity, the one-time moments of musical brilliance, wouldn't you want to hear that? Well, sure. That's what Jimmy seems to be striving for by editing two notes out of one performance and replacing them with those from another. Completely removing a measure here or there that didn't work, and simply splicing the results together. And so on. I used to think that minor edits are probably okay, but at that point we're on the slippery slope. If some edits are okay, why not others? What is "minor"? So okay, now I'm pretty much against any editing. Give me the raw tapes. Maybe that's part of what I liked about the original TSRTS recordings; that flaw in the keyboard solo reminded me that it's live and no one has messed with the recording. Then I found out that that was edited to hell and back also. So now I don't know what to think. Live recordings aren't live. Time, space, and life itself no longer have meaning.
I don't remember now what my point was going to be.
I don't mean to hammer this point, but you're a musician, so maybe this will matter to you: one of the things I love about Zeppelin was the chemistry, and particularly how certain songs breathed in time. They were always in synch with each other, but the songs moved, breathed and had a sort of fluidity (to absolute time). In my opinion, all that editing, taking out certain sections, bits and pieces, compromised that. There are still moments (the original album, especially, is a much better album than it gets credit for) but I would love to have the full document of all three nights to enjoy, warts and all. In many cases, it's the mistakes that make a performance, and it's important to know that.
I'll bet I'm the only Genesis fan alive with this top 4:
1) And The. There Were Three
2) Wind And Wuthering
3) Abacab
4) A Trick Of The Tail
2-4 aren't terribly unheard of. But you're literally the only Genesis fan I've ever known to put ATTWT as a #1 all time favorite.
Someone turned me on to The Garden Tapes a few years back, and I read a bunch of it, including a lot of the ridiculous editing done to The Song Remains the Same.
I would always prefer a live album to be an actual, unedited recording of a live performance. I used to think that it must be because I myself am a musician who lives for live performance. I want to hear what they played, every note both good and bad. But obviously Jimmy Page and many others are also musicians, and there are those who want to hear the "ideal" live performance. If you could hear the song played live, perfectly, capturing all the excitement of a live performance, the sponaneity, the one-time moments of musical brilliance, wouldn't you want to hear that? Well, sure. That's what Jimmy seems to be striving for by editing two notes out of one performance and replacing them with those from another. Completely removing a measure here or there that didn't work, and simply splicing the results together. And so on. I used to think that minor edits are probably okay, but at that point we're on the slippery slope. If some edits are okay, why not others? What is "minor"? So okay, now I'm pretty much against any editing. Give me the raw tapes. Maybe that's part of what I liked about the original TSRTS recordings; that flaw in the keyboard solo reminded me that it's live and no one has messed with the recording. Then I found out that that was edited to hell and back also. So now I don't know what to think. Live recordings aren't live. Time, space, and life itself no longer have meaning.
I don't remember now what my point was going to be.
Maybe he was trying to play mad scientist with the tapes....
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
It doesn't have anything as awesome as The Cinema Show or Firth of Fifth, but I honestly think that A Trick of the Tail is their best and most consistent album at this point in time. None of the songs would be in my Genesis top 5, but probably 5-6 of them would be in that 6-20 range.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins. They sound like another band, far from the Genesis I knew and loved. They got some excellent session drummers in it as well, but they can't catch the spirit of Genesis IMO. The singer tries to copy Peter Gabriel, but fails. What still makes me play it is Mike's guitar work and of course, Tony. When I heard it the first time, my immediate thought was that it sounded like one of Tony's solo efforts, which never did much for me, it was like he went from prog to pop, and not pop in the 'Genesis style', if it makes sense. Oh, whatever...
There are some real high points on CAS: Uncertain Weather, The Dividing Line, There Must Be Some Other Way, One Mans Fool. I also like the title track and Congo just fine for what they are. I dont hate Shipwrecked or Not About Us even, though they dont seem like Genesis songs. It does seem like a new project though more than a continuation of Genesis if that makes sense. Like Tony Banks and Rutherfords solo/side projects mixed.
There are also several strong tracks that didnt make the album that would have really improved the final project, and they definitely missed an opportunity in picking Ray Wilson over David Longdon (Big Big Train) as the singer. I like Wilson to an extent, but Longdon would have given them a more charismatic voice who could pull off both the Collins and Gabriel material.
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins. They sound like another band, far from the Genesis I knew and loved. They got some excellent session drummers in it as well, but they can't catch the spirit of Genesis IMO. The singer tries to copy Peter Gabriel, but fails. What still makes me play it is Mike's guitar work and of course, Tony. When I heard it the first time, my immediate thought was that it sounded like one of Tony's solo efforts, which never did much for me, it was like he went from prog to pop, and not pop in the 'Genesis style', if it makes sense. Oh, whatever...
There are some real high points on CAS: Uncertain Weather, The Dividing Line, There Must Be Some Other Way, One Mans Fool. I also like the title track and Congo just fine for what they are. I dont hate Shipwrecked or Not About Us even, though they dont seem like Genesis songs. It does seem like a new project though more than a continuation of Genesis if that makes sense. Like Tony Banks and Rutherfords solo/side projects mixed.
There are also several strong tracks that didnt make the album that would have really improved the final project, and they definitely missed an opportunity in picking Ray Wilson over David Longdon (Big Big Train) as the singer. I like Wilson to an extent, but Longdon would have given them a more charismatic voice who could pull off both the Collins and Gabriel material.
Thaaank yoouu. Ray Wilson is a good singer, but David Longdon would have taken Calling All Stations to a whole new level. Like he took Big Big Train to a new level.
By the way, does anyone know why Chester Thompson didn't just replace Phil on the album? And on the tour, too?
Their catalog is so vast and diverse, I don't know how anyone can rank their favorites. To me, when I listen to Invisible Touch, that's my favorite. When I listen to Trick of the Tail, that's my favorite. Foxtrot? Favorite. Shit, I even love Calling All Stations, although I guess I've never said it was my favorite, but there are times I feel like it gets close.
Basically, whatever I'm mood I'm in dictates what I listen to and love at that moment.
I so much agree!
And Calling All Stations (what a dumb title) is a weird record. It's an example of a group losing their DNA when replacing a key member - in this case Phil Collins. They sound like another band, far from the Genesis I knew and loved. They got some excellent session drummers in it as well, but they can't catch the spirit of Genesis IMO. The singer tries to copy Peter Gabriel, but fails. What still makes me play it is Mike's guitar work and of course, Tony. When I heard it the first time, my immediate thought was that it sounded like one of Tony's solo efforts, which never did much for me, it was like he went from prog to pop, and not pop in the 'Genesis style', if it makes sense. Oh, whatever...
There are some real high points on CAS: Uncertain Weather, The Dividing Line, There Must Be Some Other Way, One Mans Fool. I also like the title track and Congo just fine for what they are. I dont hate Shipwrecked or Not About Us even, though they dont seem like Genesis songs. It does seem like a new project though more than a continuation of Genesis if that makes sense. Like Tony Banks and Rutherfords solo/side projects mixed.
There are also several strong tracks that didnt make the album that would have really improved the final project, and they definitely missed an opportunity in picking Ray Wilson over David Longdon (Big Big Train) as the singer. I like Wilson to an extent, but Longdon would have given them a more charismatic voice who could pull off both the Collins and Gabriel material.
Thaaank yoouu. Ray Wilson is a good singer, but David Longdon would have taken Calling All Stations to a whole new level. Like he took Big Big Train to a new level.
By the way, does anyone know why Chester Thompson didn't just replace Phil on the album? And on the tour, too?
It doesn't have anything as awesome as The Cinema Show or Firth of Fifth, but I honestly think that A Trick of the Tail is their best and most consistent album at this point in time. None of the songs would be in my Genesis top 5, but probably 5-6 of them would be in that 6-20 range.
I tend to think of Los Endos as one of those signature Genesis moments up there with stuff like Cinema Show or Firth of Fifth. Its one of my favorite instrumental tracks (by anyone).
It doesn't have anything as awesome as The Cinema Show or Firth of Fifth, but I honestly think that A Trick of the Tail is their best and most consistent album at this point in time. None of the songs would be in my Genesis top 5, but probably 5-6 of them would be in that 6-20 range.
I tend to think of Los Endos as one of those signature Genesis moments up there with stuff like Cinema Show or Firth of Fifth. Its one of my favorite instrumental tracks (by anyone).
Los Endos is great, yet still probably only my 5th favorite song from that record! :eek :eek
I would rank them in this order:
1. Entangled (that ending is so sublime)
2. Mad Man Moon
3. Ripples
4. Robbery, Assault and Battery
5. Los Endos
6. Dance on a Volcano
7. Squonk
8. A Trick of the Tail
In the 80's, I was in a band that opened with Squonk for a while, because we were all progheads playing in a bar band and we liked the song. Opening song from Seconds Out seemed like a good choice, right? The other two Genesis songs we did were Abacab and Turn It On Again just because we could. We played some Alan Parsons Project, a bunch of The Police, some crazy shit. Problem is, we were playing backwoods bars in Northern Michigan who had no idea what to make of it. They tolerated it, but came alive when we played Born To Be Wild. Okay.
We had fun, though. We were practicing during the day in a bar in Manistee, and the bartender asked us if we knew any Emerson Lake & Palmer, and me, the bassist, and the drummer had just figured out the beginning of Tarkus like a week before for the hell of it, so we threw it at him. Blew his mind. He said he'd never, ever expected to hear Tarkus in a bar before, let alone this one. We made his day, his whole weekend.
1980 Lyceum Ballroom May 7, 1980
I'm not into a lot of bootleg recordings, but this is one of the few Genesis bootlegs I have that I really like. It's a soundboard recording, and one of the original sources for the Three Sides Live album. The great thing is that it includes the entire "Duke" suite. This is the only tour where they played the entire six-part suite in order. I re-did my Three Side Live playlist to incorporate "Duke" in its entirety, and it's pretty sweet.
If you're a fan of the Duke album (and hey, who isn't?) then this is a boot that you want, whether you realize it or not.
In the 80's, I was in a band that opened with Squonk for a while, because we were all progheads playing in a bar band and we liked the song. Opening song from Seconds Out seemed like a good choice, right? The other two Genesis songs we did were Abacab and Turn It On Again just because we could. We played some Alan Parsons Project, a bunch of The Police, some crazy shit. Problem is, we were playing backwoods bars in Northern Michigan who had no idea what to make of it. They tolerated it, but came alive when we played Born To Be Wild. Okay.
We had fun, though. We were practicing during the day in a bar in Manistee, and the bartender asked us if we knew any Emerson Lake & Palmer, and me, the bassist, and the drummer had just figured out the beginning of Tarkus like a week before for the hell of it, so we threw it at him. Blew his mind. He said he'd never, ever expected to hear Tarkus in a bar before, let alone this one. We made his day, his whole weekend.
It doesn't have anything as awesome as The Cinema Show or Firth of Fifth, but I honestly think that A Trick of the Tail is their best and most consistent album at this point in time. None of the songs would be in my Genesis top 5, but probably 5-6 of them would be in that 6-20 range.
I tend to think of Los Endos as one of those signature Genesis moments up there with stuff like Cinema Show or Firth of Fifth. Its one of my favorite instrumental tracks (by anyone).
Los Endos is great, yet still probably only my 5th favorite song from that record! :eek :eek
I would rank them in this order:
1. Entangled (that ending is so sublime)
2. Mad Man Moon
3. Ripples
4. Robbery, Assault and Battery
5. Los Endos
6. Dance on a Volcano
7. Squonk
8. A Trick of the Tail
I'm a sucker for lists, so:
1. Ripples
2. Dance On A Volcano
3. Los Endos
4. Entangled
5. Squonk
6. Mad Man Moon
7. Robbery, Assault and Battery
8. A Trick of the Tail
The reality is, 1 through 3 are virtually interchangeable, and depend on the day, as are 6 though 8. This is a strong album; I don't usually just "decide" I want to hear "R, A & B", but I don't skip it. It's also a beautiful album; the pastoral feel of several of the tracks is pervasive, and even if each individual song doesn't "nail it" (like Ripples does) it's very much a mood album for me.
1980 Lyceum Ballroom May 7, 1980
I'm not into a lot of bootleg recordings, but this is one of the few Genesis bootlegs I have that I really like. It's a soundboard recording, and one of the original sources for the Three Sides Live album. The great thing is that it includes the entire "Duke" suite. This is the only tour where they played the entire six-part suite in order. I re-did my Three Side Live playlist to incorporate "Duke" in its entirety, and it's pretty sweet.
If you're a fan of the Duke album (and hey, who isn't?) then this is a boot that you want, whether you realize it or not.
I tried that for a while. According to Tony, they originally wanted to arrange the album that way, with the suite on one side and the other songs on the other side, but shied away from it at the last minute because they didn't want to invite the inevitable comparisons to Supper's Ready, their only other side-long epic. So they ended up with the arrangement they did, with the suite opening and closing the album, Turn It On Again in the middle, and the rest of the songs arranged so as to form a loose narrative if you overthink it enough, thus making Duke their first and only true concept album. But even Tony admitted that that was kinduv artificial anyway.
For me, it worked, but I eventually went back to the original run order, simply because it's what I was used to, and I like hearing Duke's End as the album closer. But since it's an iPod, I had a playlist with just the Duke suite for a while. I don't know, I nuked it at some point, mostly because I just never bothered with it.
It doesn't have anything as awesome as The Cinema Show or Firth of Fifth, but I honestly think that A Trick of the Tail is their best and most consistent album at this point in time. None of the songs would be in my Genesis top 5, but probably 5-6 of them would be in that 6-20 range.
I tend to think of Los Endos as one of those signature Genesis moments up there with stuff like Cinema Show or Firth of Fifth. Its one of my favorite instrumental tracks (by anyone).
Los Endos is great, yet still probably only my 5th favorite song from that record! :eek :eek
I would rank them in this order:
1. Entangled (that ending is so sublime)
2. Mad Man Moon
3. Ripples
4. Robbery, Assault and Battery
5. Los Endos
6. Dance on a Volcano
7. Squonk
8. A Trick of the Tail
I'm a sucker for lists, so:
1. Ripples
2. Dance On A Volcano
3. Los Endos
4. Entangled
5. Squonk
6. Mad Man Moon
7. Robbery, Assault and Battery
8. A Trick of the Tail
The reality is, 1 through 3 are virtually interchangeable, and depend on the day, as are 6 though 8. This is a strong album; I don't usually just "decide" I want to hear "R, A & B", but I don't skip it. It's also a beautiful album; the pastoral feel of several of the tracks is pervasive, and even if each individual song doesn't "nail it" (like Ripples does) it's very much a mood album for me.
Maybe it's because I am used to the running order, but I tried the Duke suite a few times and while I won't say it didn't work, it never came off to me as a selection of songs that just had to go together.
And then of course, there is the 'fade out' to Supper's Ready that they DID in fact play live.
https://ultimateclassicrock.com/genesis-solo-albums-ranked/
Don't know if this has been posted before but it's a pretty good overview of all of the solo album/side projects of Genesis members. I'm not a big fan of ranking but it is interesting to hear other peoples perspectives. Also, this encouraged me to seek out more Anthony Phillips stuff. Only heard his debut and it didn't do much for me.
https://ultimateclassicrock.com/genesis-solo-albums-ranked/
Don't know if this has been posted before but it's a pretty good overview of all of the solo album/side projects of Genesis members. I'm not a big fan of ranking but it is interesting to hear other peoples perspectives. Also, this encouraged me to seek out more Anthony Phillips stuff. Only heard his debut and it didn't do much for me.
I would categorize those as side projects that they happened to be involved in, and not solo albums. Of course, within the article, that distinction is moot since they didn't include any of Tony's neo-classical stuff or movie soundtracks, which have a lot of great music. The scope was limited to what they thought would be most relevant to most readers.
I would categorize those as side projects that they happened to be involved in, and not solo albums. Of course, within the article, that distinction is moot since they didn't include any of Tony's neo-classical stuff or movie soundtracks, which have a lot of great music. The scope was limited to what they thought would be most relevant to most readers.
I didn't go through it all: they didn't include Tony's classical albums??? This list has just disqualified itself.
Tony's last album was beautiful. It shows that he is still very capable of composing his signature harmony progressions. The ones that only he can compose.
Thanks for the heads up on this! I thoroughly enjoyed Three Sides Live tonight. I look forward to watching the Mama tour next week. I don't think I ever saw that film and I'm bummed I didn't see that tour live back into in the day at one of the 3 nights at the Spectrum in Philly.
Watching Three Sides Live online for like the 5th of 6th time. Probably like the CD more because there is more music but I forgot about the incidental vignettes sprinkled throughout so that was cool to watch too, but I wish there was a version without that when I just want the music. They were totally on fire. Great balance of old and new. (I keep playing Abacab over and over again!)
I still may need to get the DVD. I'll watch the Mama Tour too and then I'm out. MAYBE I'll hang around for the Invisible Touch Tour.
The IT performance is pretty darn good. That's the tour I actually saw live (in an arena), but that's also the phase where Phil has the mullet, so there's that. (I always loved that almost certainly unintentional metaphor: business in the front, i.e. stage front, when he was singing, and party in the rear, i.e. when he went back and let loose on drums.)
With ...and then there were three..., Mike had to step up. He'd always played guitar in the band as well as bass, but this was the first album where he had to do both. Also, as sole guitarist, he clearly wanted to show that he could fill the gap. Maybe he's no Steve Hackett, but he takes some nice leads, and his sounds are very similar to Hackett's, and also to Anthony Phillips before him. I like what he does here, as well as on the later albums.
What Genesis lost when they went three-piece was the acoustic side. Those wonderful interludes with acoustic six- and 12-string guitars and Tony's piano. And it's a bit confusing as well, because that was part of the Genesis sound before Hackett joined, so there was no real reason to lose it when he left. Maybe it was a decision based more on the direction the band was going in at the time.
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
Down & Out is awesome. Phil is absolutely on phire on this track!
Also, I always thought of it as an answer to Dance On A Volcano: "better start doing it right" vs "show me someone doing it better".
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
Down & Out is awesome. Phil is absolutely on phire on this track!
Also, I always thought of it as an answer to Dance On A Volcano: "better start doing it right" vs "show me someone doing it better".
I've long thought of Down and Out as "Squonk in 5/4". Both songs kinda stomp along in Dm, in their respective time signatures.
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
isnt it that song where they tried to play it live a couple of times and got all confused because they couldnt agree where the downbeat of 1 was?
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
Down & Out is awesome. Phil is absolutely on phire on this track!
Also, I always thought of it as an answer to Dance On A Volcano: "better start doing it right" vs "show me someone doing it better".
I've long thought of Down and Out as "Squonk in 5/4". Both songs kinda stomp along in Dm, in their respective time signatures.
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
isnt it that song where they tried to play it live a couple of times and got all confused because they couldnt agree where the downbeat of 1 was?
Is there a live version of this song? I might enjoy it more.
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
Duke was my first Genesis album and that may be why it doesn't jump out at me.
I do that that the "skipping" part though. I think the way it's mixed might be my problem too. Most of my listening is on the original CD. Never got the 1994 remaster, but I do think the most recent mix sounds better but being sandwiched between Seconds Out and Duke doesn't do it any favors on my shelf.
Perhaps I've overlooked it. What do you like about Undertow?
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
isnt it that song where they tried to play it live a couple of times and got all confused because they couldnt agree where the downbeat of 1 was?
Is there a live version of this song? I might enjoy it more.
It was played early on on the tour, but according to the legend, Chester could never quite get his arms around that time signature, and it was dropped about three months into the tour. I don't know of any boots of those early shows.
Down and Out is far and away my favorite from that album. I've never thought that it stomped along.
I love Down and Out. This was my first Genesis album, and that opening got me good, the way it stumbles into the 5/4 via a single bar of 6/4 that makes it sound like the record skipped. Guitar leads and synth leads, Phil pounding those skins, the intro and outro, I love pretty much everything about the song. I thought it was a hell of a statement. "So there's only three of us now, but check this out."
isnt it that song where they tried to play it live a couple of times and got all confused because they couldnt agree where the downbeat of 1 was?
Is there a live version of this song? I might enjoy it more.
It was played early on on the tour, but according to the legend, Chester could never quite get his arms around that time signature, and it was dropped about three months into the tour. I don't know of any boots of those early shows.
That seems spurious. Genesis had plenty of material in 5/4 (the predominant time signature in the song, with parts being in good old 4/4), and I doubt it would phase Chester much (although there is some odd syncopation).
Here's a live version: https://www.youtube.com/watch?v=O4ieW-bXMwM
Am I the only one who loves ...And Then There Were Three?
Am I the only one who loves ...And Then There Were Three?
You are not. We literally just had a whole discussion about this album in the last 40 posts or so :lol
In the 80's, I was in a band that opened with Squonk for a while, because we were all progheads playing in a bar band and we liked the song. Opening song from Seconds Out seemed like a good choice, right? The other two Genesis songs we did were Abacab and Turn It On Again just because we could. We played some Alan Parsons Project, a bunch of The Police, some crazy shit. Problem is, we were playing backwoods bars in Northern Michigan who had no idea what to make of it. They tolerated it, but came alive when we played Born To Be Wild. Okay.
We had fun, though. We were practicing during the day in a bar in Manistee, and the bartender asked us if we knew any Emerson Lake & Palmer, and me, the bassist, and the drummer had just figured out the beginning of Tarkus like a week before for the hell of it, so we threw it at him. Blew his mind. He said he'd never, ever expected to hear Tarkus in a bar before, let alone this one. We made his day, his whole weekend.
Great coincidence! I was just listening to And Then There Were Three earlier and thinking about how much Mike was all over the bass there, as well as taking up lead guitar duties. He was never a really gifted lead guitarist, but he was tasty, so I tend to focus on that on the later albums and temporarily forgot what a great bassist he is.
Theres also a number of great Rutherford parts that are more of a soul/R&B type feel like Misunderstanding, Please Dont Ask, or You Might Recall. One of my very favorite Rutherford parts is from No Reply at All. That video in particular is fun to watch because it gives a good view of him going to town at several points. All videos should just be the band sitting around jamming in one room IMO.
Theres also a number of great Rutherford parts that are more of a soul/R&B type feel like Misunderstanding, Please Dont Ask, or You Might Recall. One of my very favorite Rutherford parts is from No Reply at All. That video in particular is fun to watch because it gives a good view of him going to town at several points. All videos should just be the band sitting around jamming in one room IMO.
That No Reply at All video was one of the things that made me think the bass would be a really cool instrument to learn! His line and tone right before and during the "I get the feeling you're trying to tell me" section are so great!
Music moves me in various ways... the lyrics inspire, the music is of a tempo and volume that invigorates... but with some bands the SOUNDS are warm and soothing. That is Genesis to me, and there are three main components to that: I love the heft and thickness of Phil's drums, I love that sound of the electric piano that Tony has - think "Turn It On Again" or "Cul-de-sac" or "Heathaze"; and I love the sound of Mike's bass - think "Duke's Travel's/Duke's End".
I've said this before, but the Medley section of "In The Cage" is my favorite piece of recorded music, and Mike plays a role in that.
Great coincidence! I was just listening to And Then There Were Three earlier and thinking about how much Mike was all over the bass there, as well as taking up lead guitar duties. He was never a really gifted lead guitarist, but he was tasty, so I tend to focus on that on the later albums and temporarily forgot what a great bassist he is.
Theres also a number of great Rutherford parts that are more of a soul/R&B type feel like Misunderstanding, Please Dont Ask, or You Might Recall. One of my very favorite Rutherford parts is from No Reply at All. That video in particular is fun to watch because it gives a good view of him going to town at several points. All videos should just be the band sitting around jamming in one room IMO.
That No Reply at All video was one of the things that made me think the bass would be a really cool instrument to learn! His line and tone right before and during the "I get the feeling you're trying to tell me" section are so great!
Since Im currently obsessing over prog bass players, listening now to The Lamb Lies Down on Broadway (song), and man does Rutherford have the most snarly and aggressive bass line going on under there.
Another great one now: The Fountain of Salmacis. Some great contrast between the softer groove during the verse and the more aggressive playing during the chorus and instrumental section.
Underrated Rutherford moment: A Trick of the Tale (song). This one sounds a lot like something Pete Trewavas might have channeled in places.
One of Rutherfords strongest efforts of the trio era: Driving the Last Spike. Lots of space for him to fill on this track that takes its time building up as it moved through different sections and tempos.
Since Im currently obsessing over prog bass players, listening now to The Lamb Lies Down on Broadway (song), and man does Rutherford have the most snarly and aggressive bass line going on under there.
Another great one now: The Fountain of Salmacis. Some great contrast between the softer groove during the verse and the more aggressive playing during the chorus and instrumental section.
Underrated Rutherford moment: A Trick of the Tale (song). This one sounds a lot like something Pete Trewavas might have channeled in places.
One of Rutherfords strongest efforts of the trio era: Driving the Last Spike. Lots of space for him to fill on this track that takes its time building up as it moved through different sections and tempos.
You're absolutely right, MR spread those marvellous basslines all over the place. But at the time of The Lamb, Genesis was still a 100% prog band IMO. That means, if you asked the average listener about if he noticed those basslines, he would probably answer: 'What bass?' And I really miss these days, where he still used that sound on the bass and used his creative ideas in the way he did. Another example would be, maybe long time forgotten, 'Inside and Out' from the EP 'Spot the Pigeon':
https://www.youtube.com/watch?v=SyeUizLp1rk
Again if you asked the average Joe about the incredible fast bassruns at 5:20, he would probably answer that he didn't listen to that part, because there were 'too many nodes' or that he found the song 'just boring'...
That song is just a prime example how unique Genesis was, how they were all committed to their ideas about how a song should be performed, especially these 'crazy parts' where all of them went berserk - but still followed each other like one unit.
Another example could be 'One for the Vine' out of 'Wind and Wuthering' - a wonderful composed song with a lot of sections put together, but you get the feeling that this just has to be like that, the song fits 100% together like it is. And again, how many notice the deep and well controlled bass during the quiet beginning, and how well structured it is? I once played in a band where I played the song for the other guitarist, and asked him how he thought about the bass. He said he didn't hear it, and the song was 'utter crap'...
Then the band changed towards their more 'pop oriented' style, and the 'crazy' pieces seemed to to be put to the background, more or less. But if you followed the band from their early days, it's easy to recognize their playing habits, even though they are more like 'under the surface'.
A completely different thing is Mike's other band, 'Mike + Mechanics'. Appearently, his idea was to create a more mainstream oriented band, which I have found rather boring. No crazy parts, and I didn't like his choice of singers. It was like they didn't really fit in, something about the same as with Tony's solo efforts. An exception was 'Smallcreep's Day', his first solo album (not labeled as a Mechanics album). That one had a very special mood and some interesting work, also as a guitarist.
I agree about Mike + The Mechanics. I wanted so bad to like them since I'm a huge fan of Rutherford's work in Genesis. I would still see them live in a heartbeat. They usually do Land of Confusion so that alone would be worth it.
Smallcreep's Day though, man....an absolute masterpiece if you ask me. Odd that Acting Very Strange was his followup which I like about as much as his other side projects.
Ha...I'm not the only one who think 'Smallcreep's Day' is marvellous. Look at the comments on YT:
https://www.youtube.com/watch?v=_lg6FYXVFdI
Ha...I'm not the only one who think 'Smallcreep's Day' is marvellous. Look at the comments on YT:
https://www.youtube.com/watch?v=_lg6FYXVFdI
I still need to track down a copy of this. Have heard good things about it.
I still intend to check out Smallcreep's Day someday. I've known about it for many, many years. I have Acting Very Strange on vinyl and a few Mike + The Mechanics albums on CD, and they're all good to pretty good, occassionally great. But I've still never gotten around to Smallcreep's Day.
But I still intend to check it out someday.
Also, hell yeah, Mike is a great bassist! ♫♫
I still intend to check out Smallcreep's Day someday. I've known about it for many, many years. I have Acting Very Strange on vinyl and a few Mike + The Mechanics albums on CD, and they're all good to pretty good, occassionally great. But I've still never gotten around to Smallcreep's Day.
But I still intend to check it out someday.
Also, hell yeah, Mike is a great bassist! ♫♫
Why not check ot out on the YT link I posted earlier? The whole album is there, together with some words from the original singer, Noel McCalla.
I just listened to Smallcreep again - and what a genious album it is. It has a sort of melancholic mood, built on the sad life of a threadmill existance. The mood and atmosphere is kept throughout the album - together with Mike, Noel has a big influence on this, but also Anthony Phillips' keyboards has a strong impact. It sort of makes me think of my youth when sitting on a rainy day, looking out of the window without anything to do and wondering what the hell the world is going to be...this music is so good that it makes you think about memories, lost relationships etc...not necessary in a bad way, just like things has happened, and they are never coming back. That sort of thing.
Then I looked it up on Wiki, and there's quite a story there. At the time of its release, the critics gave it a big thumbs down - 2 out of 5 stars or such. 'Rutherford is not able to write at least one memorable song'. LOL. Same when Duke came out, I remember the reviews from then, where they described Phil's drums as 'clattering' and Mike's basslines as 'overdone' or just 'too much'.
Can't help getting a bit angry about ignorant fools like these. Maybe they should stick with writing about Bon Jovi, Britney Spears or the likes..
I do think Rutherfords style of bass playing is pretty unusual in the broader rock world. Not that there arent lots of great, creative bass players throughout rock, but the idea of being sort of aggressively melodic and not just rounding out chords and keeping the rhythm is probably lost on a lot of rock fans.
With Mike + The Mechanics and even later Genesis (not altogether of course), I do wonder if Rutherford just decided from a commercial/airplay standpoint that underplaying would be better received by the broader listening public and gave up on more complex bass lines? M+M was clearly engineered for radio success. Yet Ive wondered why later in life after that style was no longer popular why he hasnt felt the need to stretch himself out again playing wise. Not that Ive heard a lot of later say Mike + The Mechanics, but what I have heard has been pretty vanilla adult contemporary stuff.
I will say I do really like the Living Years album. Its not totally just a pop fest, though it is all pretty mainstream sounding (for that time). His playing is pretty tame on that one though.
I just listened to Smallcreep again - and what a genious album it is. It has a sort of melancholic mood, built on the sad life of a threadmill existance. The mood and atmosphere is kept throughout the album - together with Mike, Noel has a big influence on this, but also Anthony Phillips' keyboards has a strong impact. It sort of makes me think of my youth when sitting on a rainy day, looking out of the window without anything to do and wondering what the hell the world is going to be...this music is so good that it makes you think about memories, lost relationships etc...not necessary in a bad way, just like things has happened, and they are never coming back. That sort of thing.
I'm listening now, finally, for the first time. Wow! This is really good. I didn't realize that Anthony Phillips played keyboards as well. He was the original guitarist for Genesis, of course.
In the comments, someone mentions that Mike is actively blocking the re-release of this album (on CD, presumably). Does anyone know any more about that? Is it because Mike didn't really feel like his solo albums were very good? That's supposedly why he formed Mike + The Mechanics; because he felt that he did his best work in collaboration with others.
As a fan of this music - Duke in particular - I kind of think we're the ignorant fools not the other way around. It IS too much, I just like it that way. Most people don't.
As a fan of this music - Duke in particular - I kind of think we're the ignorant fools not the other way around. It IS too much, I just like it that way. Most people don't.
I understand what you mean. But really, then all people who happens to like musical extravaganca are ignorant fools? In the extreme, if you had those same critics listen to Wagner's 'Die Meistersinger von Nrnberg', more than 5 hours of opera, how would their reviews be? 'Not one memorable song', 'too much', 'overdone' would be my guess. No, I just think that it's very unfortunate to have the wrong people writing reviews of music they don't understand, and never will understand. And we're not getting completely off track here, because I hear a lot of Wagner (and Bach) in Genesis' music. Anthony's playing on Smallcreep has a lot of Bach in it, f.ex.
..and while I'm getting off track, let me just mention Anthony's brilliant album from '77 'The Geese & The Ghost'. That album is REALLY nerdy, but also fascinating. I have a lot of his albums on vinyl, many of them contains endless noodling on guitars - but The Geese & The Ghost stands out.
I do think Rutherfords style of bass playing is pretty unusual in the broader rock world. Not that there arent lots of great, creative bass players throughout rock, but the idea of being sort of aggressively melodic and not just rounding out chords and keeping the rhythm is probably lost on a lot of rock fans.
With Mike + The Mechanics and even later Genesis (not altogether of course), I do wonder if Rutherford just decided from a commercial/airplay standpoint that underplaying would be better received by the broader listening public and gave up on more complex bass lines? M+M was clearly engineered for radio success. Yet Ive wondered why later in life after that style was no longer popular why he hasnt felt the need to stretch himself out again playing wise. Not that Ive heard a lot of later say Mike + The Mechanics, but what I have heard has been pretty vanilla adult contemporary stuff.
I will say I do really like the Living Years album. Its not totally just a pop fest, though it is all pretty mainstream sounding (for that time). His playing is pretty tame on that one though.
I think it's sort of the other way around; Genesis didn't start as "100% prog", they started as a song-writing collective, and actually played the stuff just as an expedience to get their songwriting out there. Gabriel left in '75 and has pursued a "song" existence almost exclusively ever since, and all three "main" members - Banks, Collins, Rutherford - have pursued the writing side of the equation almost exclusively since the band's "hibernation". I think this is a way not of "abandoning" the crazy, but actually getting back to the roots and fine-tuning their craft. I think it says something grand about the band that they have been able to be so successful at such a radical refocusing; no other true "prog" band has really been able to do that except in random instances.
He seems to think we're "programmed" to be "dumbed down" and I disagree with that. Strongly, actually.
He seems to think we're "programmed" to be "dumbed down" and I disagree with that. Strongly, actually.
Why? (Just curious.)
He seems to think we're "programmed" to be "dumbed down" and I disagree with that. Strongly, actually.
Why? (Just curious.)
Why do I disagree? Because I think the notion of "programmed" in that way is ludicrous. I think we - generally, humans - like what we like and seek more of it out. Music goes in waves, and as we've seen from the 50's, the early 60's, the late 60's, the early 70's... you get it, music also follows culture and society to a degree. It's no mystery why the Beatles made such an impact in our psyche less than two months following one of the most catastrophic events in American social history. It's no mystery why Prog - the systematic breaking of the established rules - blossomed out of the late 60's. It's no mystery why heavy metal and hard rock - as well as the "Laurel Canyon" scene, in it's own way - blossomed out of the bleakness of the early 70's and the morass that was Vietnam. We can do this for any period you want to point at.
I think there's something to be said for music as "escapism", and there's something to be said as our society and culture becomes more complicated and confusing, you see a move toward more simplistic, emotionally driven music. That's not a "programmed dumbing down" - which implies a proactive step driving the change - as much as it is a "reactive supply to meet demand".
The music industry is not a proactive driver; they are a reactive follower. Look at any "trend": the Beatles (again), prog, new wave, punk, grunge (especially grunge!), hair metal. You get an initial innovator - not from the record companies but from creative artists - and then you get a wave of imitators and offshoots to capitalize on the trend. Then the trend dies and off to the next thing. If the record companies WERE so powerful as to "program" listeners, there would be no "one hit wonders". There would be no "disco (or any other) crazes".
Been on a Genesis kick lately...how incredible is One For The Vine?
I've also come to the realization that I really don't care for anything pre-Selling England...it meanders a bit too much for me and doesn't really hit the spot their more "focused" albums do. Hogweed and Harold are a lot of fun though.
Don't know if you can call this a Genesis kick, but I've been listening to Three Sides Live again for the last few days.
But then Genesis really doesn't start to happen for me until A Trick Of The Tail.
You know, after all the box sets came out (and the Gabriel ones came last), I realized I was really more excited by the Collins albums than the Gabriel ones. Before that I would have said the Gabriel area was stronger, but there is a certain charm in Collins voice and maybe a more lighthearted vibe with Banks being the dominant composer. So I also probably spend more time with the Selling England and beyond Genesis than what came before (though I almost never listen to The Lamb outside a few tracks).
But I do still think very highly of Foxtrot and Nursery Cryme. Foxtrot was my first Genesis album. I still love Suppers Ready and that Watcher of the Skies intro will always get me. Also, Can-Utility is still one of my favorite Genesis songs.
On Nursery Cryme, Ive always loved the two short, quiet tracks (For Absent Friends and Harlequin), and I think Seven Stones and Salmacis are also really great. I might be a little less excited by The Musical Box and Giant Hogweed than I once was, but those are still songs I think of fondly.
Although Trespass is one I usually enjoy when I hear it, Ive just never spent much time with it. Hard to explain. Not sure if its because its missing Collins and Hackett or what. There are some great moments on it but I just almost never pull it out.
Ive sometimes quipped that I prefer Collins Genesis over Gabriel Genesis, and Gabriel solo over Collins solo. Not that I dont really like Collins solo stuff, but I think Gabriel really came into his own as an artist and also became a much better singer from PG 3 onward.
Me And Sarah Jane has been stuck in my head for 3 days. Randomly. I didn't even spin Abacab. Strange how songs do this to me sometimes.
I went through a little Genesis phase a few weeks back, went through most of their 70s albums. They were always one of my least favorite and hardest to get into out of all the biggest 70s prog bands, like Yes, Crimson, ELP, Gentle Giant, Camel, etc... Never cared much for anything past Duke.
I went through a little Genesis phase a few weeks back, went through most of their 70s albums. They were always one of my least favorite and hardest to get into out of all the biggest 70s prog bands, like Yes, Crimson, ELP, Gentle Giant, Camel, etc... Never cared much for anything past Duke.
Past Duke I wouldn't even consider them a prog band. More like a band that used to be prog, and still included a few prog tidbits in the albums, but basically had gone pop.
Good point, and it's the non-mainstream, often dark songs the kept me interested in them until the end. I was a huge Genesis fan in the 70's and into the 80's, but started to lose interest towards the end ("the end" meaning We Can't Dance). I guess it's unfair to imply that they went full-on pop, even they weren't full-on prog anymore.
True. If they'd had the time and inclination to do that album properly (it feels rushed and unfinished, and actually was) I think it could have been a pretty good album. I've heard outtakes from CAS that I like better than what made it onto the album, but they too feel unfinished. I wished they'd done it right, and I especially would have loved to hear a second album from that lineup.
Tony Banks was always my favorite composer within Genesis, but other than a few exceptions, he seemed to need someone else to work with to really make his compositions into songs. The exceptions include some of my all-time favorite Genesis songs ("One for the Vine", "Can-Utility and the Coastliners") but I have four or five of his solo albums, and they are chock full of dreadfully mediocre "regular" songs. Tony needs someone to bounce ideas off of and polish his rough cuts into gems.
Mike Rutherford has some good songs, too, but he did his best writing in collaboration with Phil Collins, so that wouldn't exactly help a Genesis without Phil Collins. And I agree, Ray Wilson doesn't seem to fill the void. I've read a little bit (not a lot, but a little) about what went into Calling All Stations, and my impression is that they'd come up with a timetable for creating the new album (writing, rehearsing, recordings, mixing, etc) and it simply took longer than they thought it would, but other commitments like release dates and promotions and tour dates were fixed, so they had to go with what they had. That's not too far from the official story, which is why I don't think it's too far-fetched.
I always wondered what David Longdon would have brought to the table if he had been chosen as a singer for Genesis.
Tony Banks was always my favorite composer within Genesis, but other than a few exceptions, he seemed to need someone else to work with to really make his compositions into songs. The exceptions include some of my all-time favorite Genesis songs ("One for the Vine", "Can-Utility and the Coastliners") but I have four or five of his solo albums, and they are chock full of dreadfully mediocre "regular" songs. Tony needs someone to bounce ideas off of and polish his rough cuts into gems.
Mike Rutherford has some good songs, too, but he did his best writing in collaboration with Phil Collins, so that wouldn't exactly help a Genesis without Phil Collins. And I agree, Ray Wilson doesn't seem to fill the void. I've read a little bit (not a lot, but a little) about what went into Calling All Stations, and my impression is that they'd come up with a timetable for creating the new album (writing, rehearsing, recordings, mixing, etc) and it simply took longer than they thought it would, but other commitments like release dates and promotions and tour dates were fixed, so they had to go with what they had. That's not too far from the official story, which is why I don't think it's too far-fetched.
The ran out of time theory makes a lot of sense.
Tony Banks was always my favorite composer within Genesis, but other than a few exceptions, he seemed to need someone else to work with to really make his compositions into songs. The exceptions include some of my all-time favorite Genesis songs ("One for the Vine", "Can-Utility and the Coastliners") but I have four or five of his solo albums, and they are chock full of dreadfully mediocre "regular" songs. Tony needs someone to bounce ideas off of and polish his rough cuts into gems.
Mike Rutherford has some good songs, too, but he did his best writing in collaboration with Phil Collins, so that wouldn't exactly help a Genesis without Phil Collins. And I agree, Ray Wilson doesn't seem to fill the void. I've read a little bit (not a lot, but a little) about what went into Calling All Stations, and my impression is that they'd come up with a timetable for creating the new album (writing, rehearsing, recordings, mixing, etc) and it simply took longer than they thought it would, but other commitments like release dates and promotions and tour dates were fixed, so they had to go with what they had. That's not too far from the official story, which is why I don't think it's too far-fetched.
The ran out of time theory makes a lot of sense.
There is a B-side from those sessions called Run Out of Time, so....
If you want a three and a half hour discourse on the Phil Collins era of Genesis, this is a pretty good listen.
https://spiritofcecilia.com/2020/11/02/brad-birzer-talks-genesis/
I went through a little Genesis phase a few weeks back, went through most of their 70s albums. They were always one of my least favorite and hardest to get into out of all the biggest 70s prog bands, like Yes, Crimson, ELP, Gentle Giant, Camel, etc... Never cared much for anything past Duke.
Past Duke I wouldn't even consider them a prog band. More like a band that used to be prog, and still included a few prog tidbits in the albums, but basically had gone pop.
I really like Abacab too. In that podcast they described it (I think) as the ultimate mix of punk, new wave, and prog. Whatever it is, I like all of the songs except Whodunnit. I do often wish they had kept some of the proggier b-sides on the album (as well as the tremendous You Might Recall), but that doesnt stop me from appreciating the album as it is.
I went through a little Genesis phase a few weeks back, went through most of their 70s albums. They were always one of my least favorite and hardest to get into out of all the biggest 70s prog bands, like Yes, Crimson, ELP, Gentle Giant, Camel, etc... Never cared much for anything past Duke.
Past Duke I wouldn't even consider them a prog band. More like a band that used to be prog, and still included a few prog tidbits in the albums, but basically had gone pop.
Obs the double concept is their most prog moment, but I would put Abacab up there as their second or third most prog album (they even busted out Supper's Ready on that tour). FOR THE TIME, there's not really one truly mainstream pop offering on that record. Abacab - named after it's structure though they reshuffled the parts (Mike has said it's accaabbaacc) - is an oddly constructed tune. No Reply At All has the Phoenix Horns, a radical - i.e. "progressive" - choice for the time. We've already talked about the compositional uniqueness of Me And Sarah Jane (probably my favorite song on the album). Keep It Dark - in 6/4 time - is an unusual song. Dodo/Lurker is the most typically "prog" song, as it is a part of a longer suite, the remainder released as b-sides. Whodunnit?, the most controversial song on the record, is far from a "pop" song (and featured the band, live, on different instruments). Man On The Corner - which was booed at many shows on the album tour, is really FOR THE TIME somewhat innovative, using the Roland drum machine (I think only previously used on Duchess, from Duke). Like It Or Not and Another Record are a little more straightforward, but they still have their proggish moments.
The album itself - the first engineered by Hugh Padgham - has been lauded for it's sound quality, and it's the first Genesis album with the famed "Phil Collins sound". I think it's a high water mark of the band, and EXTREMELY under appreciated.
I really like Abacab too. In that podcast they described it (I think) as the ultimate mix of punk, new wave, and prog. Whatever it is, I like all of the songs except Whodunnit. I do often wish they had kept some of the proggier b-sides on the album (as well as the tremendous You Might Recall), but that doesnt stop me from appreciating the album as it is.
I don't think it's still there, but for the longest time I had an "Abacab Complete" playlist on my iPod with ALL the b-sides. I think Paperlate, You Might Recall and the "interlude" of Submarine/Naminanu really give the album some variety, even though I can see why they cut what they did.
Iconic guitarist Steve Hackett, releases his new acoustic album 'Under A Mediterranean Sky' on 22nd January 2021 as a Limited CD Digipak, Gatefold 2LP + CD + LP-booklet and Digital Album via InsideOut Music. Under A Mediterranean Sky is Steve Hacketts first acoustic solo album since Tribute in 2008 and takes inspiration from Steves extensive travels around the Mediterranean with his wife Jo.
Working closely with long-time musical partner Roger King, Hackett has used his time during 2020s lockdown to take us on an extraordinary musical journey around the Mediterranean, painting vivid images of stunning landscapes and celebrating the diverse cultures of the region. Famed for his rock roots with Genesis, and through his extensive solo catalogue, Hackett demonstrates the exquisite beauty of the nylon guitar at times venturing into the exotic ethnic and often supported by dazzling orchestral arrangements.
A lot of acoustic ideas had been forming over the years, and it felt like the perfect time to create this album, notes Hackett, a time to contemplate the places weve visited around the Mediterranean with the kind of music which evolved from the world of imagination.
Because we cant really travel, substantially at the moment, I hope that the album will take people on that journey. Whether you sit down and listen to it or drift off to it with a glass of wine
Track Listing:
Mdina (The Walled City) (Steve Hackett / Roger King)
Adriatic Blue (Steve Hackett)
Sirocco (Steve Hackett / Jo Hackett / Roger King)
Joie de Vivre (Steve Hackett / Jo Hackett)
The Memory of Myth (Steve Hackett / Jo Hackett / Roger King
Scarlatti Sonata (Domenico Scarlatti)
Casa del Fauno (Steve Hackett / Roger King)
The Dervish and the Djin (Steve Hackett / Jo Hackett / Roger King)
Lorato (Steve Hackett)
Andalusian Heart (Steve Hackett / Jo Hackett / Roger King)
The Call of the Sea (Steve Hackett)
Pre-order starts 20th November.
(https://scontent-vie1-1.xx.fbcdn.net/v/t1.0-9/s1080x2048/123691966_10159045785040439_6180711960178363581_o.jpg?_nc_cat=104&ccb=2&_nc_sid=730e14&_nc_ohc=Cq-dZTypOC0AX_kpuqy&_nc_ht=scontent-vie1-1.xx&tp=7&oh=f504fcf1a0107c8c7f8051717fc2cd41&oe=5FC90A22)
Happy 46th Birthday to The Lamb Lies Down On Broadway!!! 🐑 🐑 🐑
Giving the album a spin tonight as I head to bed. I haven't heard the original Lamb in awhile (typically I'll listen to the Rewiring Genesis version), but I guess The Lamb's birthday is a good day to go back to the original!
Funnily enough, I find myself remember more of the lyrics than I thought I would! Such a good album!
-Marc.
I think the album starts off great, but the second disc/half loses my interest pretty quick. I'd still rank it pretty high in their discography, based on the strength of that first half (The Lamb, Cuckoo Cocoon, In The Cage, Back In NYC, Hairless Heart, Counting Out Time, Carpet Crawlers).
I've always felt that The Lamb was an album that chose Genesis to record it. It's unlike anything before or after in their catalog.
I've always felt that The Lamb was an album that chose Genesis to record it. It's unlike anything before or after in their catalog.
I love that idea. There's probably some truth in that, since particularly with Gabriel, he's never even approached that level or style of storytelling since.
I never really could get into Lamb. Some great songs there but overall it never clicked with me. Ranks probably in the lower third of their discography for me.
I never really could get into Lamb. Some great songs there but overall it never clicked with me. Ranks probably in the lower third of their discography for me.
Same here. Then I saw The Musical Box (tribute band) play about half the album live and it really breathed new life into it. Now I appreciate the album a lot more.
For some reason when I went to Hawaii, my wife and I listened to that album on repeat as we drove around, so now I associate The Lamb Lies Down on Broadway with the tiny island of Molokai. :lol About the furthest thing from what the album is about.
I never really could get into Lamb. Some great songs there but overall it never clicked with me. Ranks probably in the lower third of their discography for me.
Same here. Then I saw The Musical Box (tribute band) play about half the album live and it really breathed new life into it. Now I appreciate the album a lot more.
For some reason when I went to Hawaii, my wife and I listened to that album on repeat as we drove around, so now I associate The Lamb Lies Down on Broadway with the tiny island of Molokai. :lol About the furthest thing from what the album is about.
I saw that (the Musical Box) too. Wonderful. I have tix to them - front row - for when concerts resume.
I've made an effort recently to listen to albums by bands I really like that I ignored or only listened to minimally, so Trespass and Calling All Stations have gotten heavy rotation from me in the past few weeks. CAS is a lot better than I remember. The whole back half of the album from The Dividing Line-One Man's Fool is all pretty high quality stuff. And the first half is pretty solid as well. I really don't hear any clunkers, except maybe a few cheesy moments like Shipwrecked and If That's What You Need. I think my favorite moment overall is the dorky keyboard solo at the end of Congo that could've only been written by Tony Banks...it's goofy as hell but so uniquely him to my ears.
Any thoughts on this one? I know there's a whole bunch of b-sides but I've never bothered listening to them since I was so turned off by the actual album but I may seek them out after changing my opinion on the album.
Many of the b-sides were better than the songs that made the album. In particular, I liked 7/8, Sign Your Life Away, and Anything Now. I ended up making a version of the album that felt a bit more consistent than what they actually released.
Calling All Stations
Anything Now
Sign Your Life Away
Alien Afternoon
The Dividing Line
7/8
Small Talk
There Must Be Some Other Way
One Man's Fool
For me, it plays much better than the official album release.
Many of the b-sides were better than the songs that made the album. In particular, I liked 7/8, Sign Your Life Away, and Anything Now. I ended up making a version of the album that felt a bit more consistent than what they actually released.
Calling All Stations
Anything Now
Sign Your Life Away
Alien Afternoon
The Dividing Line
7/8
Small Talk
There Must Be Some Other Way
One Man's Fool
For me, it plays much better than the official album release.
I like just about every song on CAS. I dont care for If Thats What You Need or Small Talk. I do like Congo and I know a lot of people dont. I dont mind Shipwrecked or even Not About Us even if they arent great Genesis songs if that makes sense. But I think the title track, Dividing Line, and Uncertain Weather are great and stand up pretty well with other 80s/90s Genesis. I also think the last two tracks (There Must Be Some Other Way and One Mans Fool) are really strong.
As a whole the album is a little darker and edgier than We Cant Dance. Different for Genesis for sure, may have been better to just form a new project, but I do like it. Every song fades out and some at really bad times, but the production is otherwise strong. Nir Z does a great job on his tracks. NDV didnt get a chance to stretch out much on his though. Ray Wilsons voice is a bit of a sticking point, but Ive come to like it even if he seems pretty limited compared to Phil Collins.
Of the B-sides, I really like the ones that were on the re-issue box set bonus disc. Anything Now is a little bit Peter Gabriel/Sledgehammer-ish. Sign Your Life Away is one that features NDV on drums and has a nice upbeat groove. And then Run Out of Time is a bluesy love song/ballad but Ray Wilson nails the vocal part on it. Its one that really suits his voice. Cheesy synth saxophone sound though.
Many of the b-sides were better than the songs that made the album. In particular, I liked 7/8, Sign Your Life Away, and Anything Now. I ended up making a version of the album that felt a bit more consistent than what they actually released.
Calling All Stations
Anything Now
Sign Your Life Away
Alien Afternoon
The Dividing Line
7/8
Small Talk
There Must Be Some Other Way
One Man's Fool
For me, it plays much better than the official album release.
What's the best way to get those b-sides? I'm sure it's on some compilation somewhere but I can't find anything but the regular album on Amazon. I always appreciate an alternate track listing and my biggest gripe about the regular CAS album is the track order/pacing.
I've made an effort recently to listen to albums by bands I really like that I ignored or only listened to minimally, so Trespass and Calling All Stations have gotten heavy rotation from me in the past few weeks. CAS is a lot better than I remember. The whole back half of the album from The Dividing Line-One Man's Fool is all pretty high quality stuff. And the first half is pretty solid as well. I really don't hear any clunkers, except maybe a few cheesy moments like Shipwrecked and If That's What You Need. I think my favorite moment overall is the dorky keyboard solo at the end of Congo that could've only been written by Tony Banks...it's goofy as hell but so uniquely him to my ears.
Any thoughts on this one? I know there's a whole bunch of b-sides but I've never bothered listening to them since I was so turned off by the actual album but I may seek them out after changing my opinion on the album.
I've made an effort recently to listen to albums by bands I really like that I ignored or only listened to minimally, so Trespass and Calling All Stations have gotten heavy rotation from me in the past few weeks. CAS is a lot better than I remember. The whole back half of the album from The Dividing Line-One Man's Fool is all pretty high quality stuff. And the first half is pretty solid as well. I really don't hear any clunkers, except maybe a few cheesy moments like Shipwrecked and If That's What You Need. I think my favorite moment overall is the dorky keyboard solo at the end of Congo that could've only been written by Tony Banks...it's goofy as hell but so uniquely him to my ears.
Any thoughts on this one? I know there's a whole bunch of b-sides but I've never bothered listening to them since I was so turned off by the actual album but I may seek them out after changing my opinion on the album.
All but one ("Nowhere Else To Turn") are on the Congo, Shipwrecked and Not About Us CD singles. Only the ones from "Not About Us" are on the 1983-1998 Box Set. That was odd; the remaining ones are the only b-sides they cut from the general release package.
I've always like Calling All Stations definitely more than We Can't Dance and probably more than Invisible Touch.
If you look back in this thread, the album was discussed a bit. I only got into Genesis a few years ago and when I finally got around to buying this, my reaction was much like everybody elses. Still, I liked part of it. I liked Ray Wilson. Many of the songs sounded unfinished and then faded out at a very inopportune time. In fact, I think the band admitted they didn't know how to finish a lot of the songs or something like that.
This album gets heavy play out of me. Like I mentioned the other day, I sometimes connect albums to when I travel. My wife and I were listening to this a lot when we traveled out west so I associate this with a pit stop in Cheyenne, WY, driving around trying to find any restaurant open on the 4th of july, and then a good place to watch fireworks.
I love the Live in Poland bootleg with Ray Wilson. He is such an amazing singer and I actually prefer his version of Carpet Crawlers to the other two. Even though I think he is the "weakest" of the three and his renditions of songs like Domino or Mama aren't as good as Phil's, I still love listening to those versions once in a while.
I struck up a friendship with the guy sitting next to me at a Phil Collins show in 2018 and he travels to Europe almost every year to go see a few Ray Wilson shows. That's too hardcore for me BUT when the pandemic is over, I am considering a Europe trip that will HOPEFULLY coincide with a Ray Wilson show or two.
All but one ("Nowhere Else To Turn") are on the Congo, Shipwrecked and Not About Us CD singles. Only the ones from "Not About Us" are on the 1983-1998 Box Set. That was odd; the remaining ones are the only b-sides they cut from the general release package.
I really wish they would release an all b-sides collection like the Pumpkins did with Aeroplane Flies High or The Cure with Join The Dots. I'm usually obsessive about getting b-sides from bands I love but for some reason I never tracked down a single Genesis one and the situation you describe is probably why...they're too scattered across different compilations and box sets.
I'll dig through the thread for CAS related stuff. It's awesome to rediscover an album that I've owned for 20 years but never gave a lot of time to...it's like getting a brand new Genesis album. About the fadeouts, someone on reddit made a great point that the album is meant to fade in/out like changing radio stations and that the tracklist was reordered at the last minute to make it more front-heavy with hits, thus ruining the changing radio station continuity. He suggested that the original tracklist began with Shipwrecked (due to the radio station noises in the intro) and ended with The Dividing Line because that's the only song with a non-fadeout ending. Not sure it matters to anyone, but it might give a little context as to what they were trying to achieve.
His set looks mainly comprised of Genesis covers...I wonder if him and Hackett ever discussed doing a tour together?
Holy shit! I've never heard this before. That makes me want to rearrange the tracklist and listen to it that way. If anyone can find out what the original track order was, please let me know.
I'll dig through the thread for CAS related stuff. It's awesome to rediscover an album that I've owned for 20 years but never gave a lot of time to...it's like getting a brand new Genesis album. About the fadeouts, someone on reddit made a great point that the album is meant to fade in/out like changing radio stations and that the tracklist was reordered at the last minute to make it more front-heavy with hits, thus ruining the changing radio station continuity. He suggested that the original tracklist began with Shipwrecked (due to the radio station noises in the intro) and ended with The Dividing Line because that's the only song with a non-fadeout ending. Not sure it matters to anyone, but it might give a little context as to what they were trying to achieve.
Holy shit! I've never heard this before. That makes me want to rearrange the tracklist and listen to it that way. If anyone can find out what the original track order was, please let me know.QuoteHis set looks mainly comprised of Genesis covers...I wonder if him and Hackett ever discussed doing a tour together?
Wilson has guested on a few songs with Hackett so it wouldn't be totally out of the question.
All but one ("Nowhere Else To Turn") are on the Congo, Shipwrecked and Not About Us CD singles. Only the ones from "Not About Us" are on the 1983-1998 Box Set. That was odd; the remaining ones are the only b-sides they cut from the general release package.
I really wish they would release an all b-sides collection like the Pumpkins did with Aeroplane Flies High or The Cure with Join The Dots. I'm usually obsessive about getting b-sides from bands I love but for some reason I never tracked down a single Genesis one and the situation you describe is probably why...they're too scattered across different compilations and box sets.
I'm a b-sides guy, too, so don't get me started! The Archive sets were supposed to do that, but they blinked and left off Me And Virgil and Match of the Day, and edited Submarine and It's Yourself. Then the "big" box sets came out and they restored all the missing tracks, and used different edits of Submarine (to better approximate the original release, whose master was damaged). But then they left off some of the CAS b-sides. I used to scream for a b-sides collection from Gabriel and Collins, and FINALLY, this past year they released them digital only, which blows but is a start. I don't get it; it's their music, and (some) fans want to buy it.
That Reddit post is an interesting theory. I dont know that it makes the album better or not to order it that way. Personally, I always felt The Dividing Line was kind of well placed in the middle of the album. Its well, the dividing line. And it sets the tone for more upbeat second half pretty well. I also think One Mans Fool is a great closer, and it is a little hard to imagine it earlier in the album.
I've always like Calling All Stations definitely more than We Can't Dance and probably more than Invisible Touch.
At this point, I think I like it better than those two as well (and probably also Trespass, ATTW3, and Foxtrot)
Quote from: DTA link=topic=8111.msg2723896#msg2723896
[quote author=ytserush link=topic=8111.msg2723778#msg2723778 date=1605988416
I've always like Calling All Stations definitely more than We Can't Dance and probably more than Invisible Touch.QuoteAt this point, I think I like it better than those two as well (and probably also Trespass, ATTW3, and Foxtrot)
Although I have them, I really don't listen to the Gabriel years. Genesis really doesn't begin for me until A Trick Of The Tail so I'd much rather listen to Calling All Stations more than anything from the Gabriel years.
Quote from: DTA link=topic=8111.msg2723896#msg2723896
[quote author=ytserush link=topic=8111.msg2723778#msg2723778 date=1605988416
I've always like Calling All Stations definitely more than We Can't Dance and probably more than Invisible Touch.QuoteAt this point, I think I like it better than those two as well (and probably also Trespass, ATTW3, and Foxtrot)
Although I have them, I really don't listen to the Gabriel years. Genesis really doesn't begin for me until A Trick Of The Tail so I'd much rather listen to Calling All Stations more than anything from the Gabriel years.
I've NEVER heard this opinion before :lol
Well, you tend to be the one who always views things as 'partly cloudy' when others see the world as 'partly sunny'.
To be honest, I had 'heard' Genesis, went to a concert during the 'Wind and Wuthering' tour, but didn't get 'into' them until a laser light quadrophonic show in East Lansing of '...And Then There Were Three'. Mind blowing. Nothing will top that experience. A few years later, I got ahold of some of the Gabriel era LPs. Not all the tracks are my cup of tea, but the ones that were ...well... I guess, to each their own.
To be honest, Dream Theater didn't begin until 'Images & Words', even though I didn't know of the band until 'Six Degrees'. The older albums resonated with me. Some fans here love this, love that, hate this, hate that.....
Oddly....some Queen fans don't like their 70's releases, and some Beatle fans don't like Sergeant Pepper onward, whilst others don't like the releases before 'Rubber Soul' or 'Revolver'.
Darn, I'm arguing against myself here. ;)
One for the Vine is amazing, my favorite from that album and one of my favorites overall. I have a sheet music book with the two '76 albums (A Trick of the Tale and Wind & Wuthering) and was frustrated -- but not surprised -- that those wonderful instrumental breaks weren't transcribed. So I worked them up myself. Spent hours in the piano room in my dorm hall, and eventually came up with a 10-minute performance piece, One for the Vine arranged for solo piano.
Orbert, I'd love to hear that sometime. Is it on tape/video?
One for the Vine is amazing, my favorite from that album and one of my favorites overall. I have a sheet music book with the two '76 albums (A Trick of the Tale and Wind & Wuthering) and was frustrated -- but not surprised -- that those wonderful instrumental breaks weren't transcribed. So I worked them up myself. Spent hours in the piano room in my dorm hall, and eventually came up with a 10-minute performance piece, One for the Vine arranged for solo piano.Orbert, I'd love to hear that sometime. Is it on tape/video?
My son was at work, and my wife and daughter were grocery shopping for today's festivities. That just left me, the piano, and a fairly large quantity of what is now legal in the State of Illinois. I considered whether to record it "cold" (I haven't played in a weeks) or run through it once to warm up. I decided to run through it once. This was a mistake. It's a ten-minute song, so by the second time through, I was already exhausted. The first take was better, fewer fuck-ups. But here it is, warts and all, live from Orbert's basement mess studio.
Orbert playing the piano - LOL (https://www.youtube.com/watch?v=MOVxGq5XoqM)
I've heard that YouTube is totally cracking down on copyright infringements and shit these days. I tried to obscure the name of the band, album, and song, but foolishly didn't change the title of the video itself, so maybe that's how it got flagged less than ten minutes after I uploaded it. We'll see how long it stays there.
On another note, I don't know how many in this thread are also Frost* fans, but Jem Godfrey has clearly done his homework when it comes to Tony Banks. Check out the instrumental "A Nice Day For It" from their album Falling Satellites. Brilliantly calls back to Duke's Travels in particular, but very Banksian in its approach.
Iris: Who are your biggest influences, and can you hear them on the new album?
Jem: Well yeah, theres a Tony Banks moment in the track Nice Day For It. Genesis split up and Tony Banks is retired now. I was impressed by that because a lot of bands, in generally, dont know when to stop. What I really like about Genesis is that they said Ok, thats enough. I know that Tony lives in Surrey and hes quite keen on gardening, apparently. Hes got a few quid in the bank and keeping himself to himself, and I thought to myself Thats what I want to do, I want to be like Tony Banks when Im 65/70. Because we might never hear from him again musically, that bit in Nice Day For It became my little musical thank you. I think the rest of the music is a mash-up of the things I listened to in the last thirty years I suppose.
On another note, I don't know how many in this thread are also Frost* fans, but Jem Godfrey has clearly done his homework when it comes to Tony Banks. Check out the instrumental "A Nice Day For It" from their album Falling Satellites. Brilliantly calls back to Duke's Travels in particular, but very Banksian in its approach.
Yep, Jem confirmed it in an interview (https://grendelhq.wordpress.com/2016/05/25/iris-interviews-jem-godfrey-frost/) in 2016 too. Excerpt:QuoteIris: Who are your biggest influences, and can you hear them on the new album?
Jem: Well yeah, theres a Tony Banks moment in the track Nice Day For It. Genesis split up and Tony Banks is retired now. I was impressed by that because a lot of bands, in generally, dont know when to stop. What I really like about Genesis is that they said Ok, thats enough. I know that Tony lives in Surrey and hes quite keen on gardening, apparently. Hes got a few quid in the bank and keeping himself to himself, and I thought to myself Thats what I want to do, I want to be like Tony Banks when Im 65/70. Because we might never hear from him again musically, that bit in Nice Day For It became my little musical thank you. I think the rest of the music is a mash-up of the things I listened to in the last thirty years I suppose.
Listening to Foxtrot now as I write. Supper's Ready is just...amazing. I love it when music I've heard hundreds of times previously can still move me so deeply.
Listening to Foxtrot now as I write. Supper's Ready is just...amazing. I love it when music I've heard hundreds of times previously can still move me so deeply.
That's been my experience with the '76 to '83 era. Never gets old.
Listening to Foxtrot now as I write. Supper's Ready is just...amazing. I love it when music I've heard hundreds of times previously can still move me so deeply.
To me, that's the essence of the early Genesis catalog. They were not just songs, but compositions, approached in a very musical way and in many places with the lyrics added literally as an afterthought. They tended to write the music first, and there are stories from both Tony Banks and Steve Hackett about being a bit disppointed that Peter Gabriel started singing over parts that they thought were instrumental. It was more diplomatic than that (I don't recall exactly, but perhaps the word "surprised" was used instead of "disappointed" or something like that).
To me, that's the essence of the early Genesis catalog. They were not just songs, but compositions, approached in a very musical way and in many places with the lyrics added literally as an afterthought. They tended to write the music first, and there are stories from both Tony Banks and Steve Hackett about being a bit disppointed that Peter Gabriel started singing over parts that they thought were instrumental. It was more diplomatic than that (I don't recall exactly, but perhaps the word "surprised" was used instead of "disappointed" or something like that).
I recall reading about this with regards to "Epping Forest", as well as bits of The Lamb. I think at first, it wasn't an issue (during the Nursery Cryme and Foxtrot years), but it slowly became an issue when it seemed like Peter and the others were almost two separate entities, where the band would write the music without Peter's input, and then he would write his lyrics over their music (without much input from the band). It's been a long long time since I've read any Genesis history though, so I could be remembering things a bit wrong.
-Marc.
They've posted a short rehearsal teaser for the upcoming tour.
https://www.youtube.com/watch?v=5CPqRQI7Vjo
Nicholas looks/sounds like hell fill his dads shoes nicely. No Chester for this tour? I guess hes not necessary without Phil juggling drum and singing duties.
What do you guys think the setlist will look like? Pretty much the same as the 2007 tour? No surprises?
I know Duchess will be included, and obviously Behind The Lines/Dukes Travels based on the clip. Probably very similar to 2007 otherwise though Im hoping they throw in some rarities (nothing crazy even - just some underplayed stuff from the 3-man era like Dodo, Keep It Dark, Living Forever, or anything from side B of Shapes would be cool)
I know Duchess will be included, and obviously Behind The Lines/Dukes Travels based on the clip. Probably very similar to 2007 otherwise though Im hoping they throw in some rarities (nothing crazy even - just some underplayed stuff from the 3-man era like Dodo, Keep It Dark, Living Forever, or anything from side B of Shapes would be cool)
How do you know Duchess will be included? They might as well play the whole Duke Suite in the right order, like they did on the Duke tour! :metal
I think out of the songs you mentioned, I'd love to hear It's Gonna Get Better. That song is a very under appreciated gem. And it includes Banks' characteristically weird harmonies and even some polyrhythms.
Todd Suchermann was sharing this on FB:
Genesis live, Paris Bataclan 1973 long version, 16mm master in 4k (https://www.youtube.com/watch?v=8qMsr7jjQF0&ab_channel=ikhnaton)
The quality is pretty amazing!
Wife wants to go. I saw them on the Invisible Touch tour.
I watched some of that the other day. Horrible cut removing half of Supper's Ready (including Apocalype in 9/8) and jumping suddenly to the end. I switched to something else at that point. Why have a "long version" if you're gonna chop up the songs anyway?
Not a concert guy to begin with, but I cant say Im all that interested in seeing them at this point. I do think its cool that Nick is getting to do this with his dad though. They should get Simon to come do the double drummer thing with him.
It is gonna be awful when trying to get tickets for any mainstream artist in the next few years, even worse than before. TM and Live Nation already love to gouge their customers, and after a year and a change of seeing their revenue stream coming to a screeching halt, they need to play catch-up and sticking it to concert-goers will be goal number 1. And I don't expect most artists to do anything meaningful to stop them from doing it.
It is gonna be awful when trying to get tickets for any mainstream artist in the next few years, even worse than before. TM and Live Nation already love to gouge their customers, and after a year and a change of seeing their revenue stream coming to a screeching halt, they need to play catch-up and sticking it to concert-goers will be goal number 1. And I don't expect most artists to do anything meaningful to stop them from doing it.
Zebra as in Randy Jackson, "Take Your Fingers From My Hair" Zebra? I can't believe that's a high-price ticket.
Oysterhead as in Stewart Copeland, Les Claypool Oysterhead? That's another I can't believe is an impossible ticket. They played Toad's Place, a 750 seat club when they came around in '01.
I'm still watching it - not going to lie; it's hard to see Phil like that - but quick question: about 9:00, 9:30 there's music in the background and it sounds like Duchess, but I don't think it quite is. Does anyone know if that's just an instrumental track of the actual song, or new music, or what? (Needless to say, I'm LOVING that music).
So no comments on the documentary yet? It isn't the finished product and has some glitches but I found it very interesting.
https://www.youtube.com/watch?v=JPSpxCnVgTM
I'm still watching it - not going to lie; it's hard to see Phil like that - but quick question: about 9:00, 9:30 there's music in the background and it sounds like Duchess, but I don't think it quite is. Does anyone know if that's just an instrumental track of the actual song, or new music, or what? (Needless to say, I'm LOVING that music).
Just listened, and that's definitely Duchess, just being played a little differently. Sounds pretty cool.
I'm still watching it - not going to lie; it's hard to see Phil like that - but quick question: about 9:00, 9:30 there's music in the background and it sounds like Duchess, but I don't think it quite is. Does anyone know if that's just an instrumental track of the actual song, or new music, or what? (Needless to say, I'm LOVING that music).
Just listened, and that's definitely Duchess, just being played a little differently. Sounds pretty cool.
I wonder if they did this on purpose, but Phil's vocals get progressively and noticeably better as they move through the documentary. I wonder if that's an acknowledgement of the work he's putting in or if it was just a by-product of the sequential nature of the discussion?
I couldn't past That's All (how fitting). That was both painful and depressing to hear him try to sing that. While I am sure the music and stage show will be great, I cannot imagine spend big bucks to hear Phil sing like that for 2+ hours. To each their own.
I couldn't past That's All (how fitting). That was both painful and depressing to hear him try to sing that. While I am sure the music and stage show will be great, I cannot imagine spend big bucks to hear Phil sing like that for 2+ hours. To each their own.
Maybe it's the bands I listen to, but I can get past the vocals for two hours. For me, as good as Nick is (and he nailed the In The Cage medley part I like so much) it's the lack of the double drums. That was always what made Genesis special to me (that and Tony, but he's there).
I couldn't past That's All (how fitting). That was both painful and depressing to hear him try to sing that. While I am sure the music and stage show will be great, I cannot imagine spend big bucks to hear Phil sing like that for 2+ hours. To each their own.
Maybe it's the bands I listen to, but I can get past the vocals for two hours. For me, as good as Nick is (and he nailed the In The Cage medley part I like so much) it's the lack of the double drums. That was always what made Genesis special to me (that and Tony, but he's there).
I get that a large part of this whole thing is Phil wanting to let Nick get a chance to get the Genesis experience, but it would have been really cool to have Simon on drums as well. That would allow them to do the double drummer thing, and he could even cover some of the vocal sections for his dad since his voice is similar.
Would've been nice to have Simon Collins along as well. He's a solid drummer, and seeing Phil's kids do a drum duet would be pretty cool.
Would've been nice to have Simon Collins along as well. He's a solid drummer, and seeing Phil's kids do a drum duet would be pretty cool.
Just pointing out I mentioned this back in April, guys. ;) ;D
Would've been nice to have Simon Collins along as well. He's a solid drummer, and seeing Phil's kids do a drum duet would be pretty cool.
Just pointing out I mentioned this back in April, guys. ;) ;D
Not a concert guy to begin with, but I cant say Im all that interested in seeing them at this point. I do think its cool that Nick is getting to do this with his dad though. They should get Simon to come do the double drummer thing with him.
I really cannot understand a word Mike Rutherford says.
I really cannot understand a word Mike Rutherford says.
It's kinda like an upper class British version of Boomhauer, from King of the Hill.
The first show of the tour is starting in a couple of hours!
It's kinda like an upper class British version of Boomhauer, from King of the Hill.
Fading Lights :tup
I know they rehearsed a certain song that hasnt been played in many years but I guess it didnt make the cut?
I know they rehearsed a certain song that hasnt been played in many years but I guess it didnt make the cut?
What one?
I know they rehearsed a certain song that hasnt been played in many years but I guess it didnt make the cut?
What one?
Abacab. They also rehearsed Jesus He Knows Me but that didnt make the cut either
I Can't Dance in the encore? Oof. That song is on my Mount Rushmore of shitbag rock songs that I cannot believe are popular.
I Can't Dance in the encore? Oof. That song is on my Mount Rushmore of shitbag rock songs that I cannot believe are popular.
I Can't Dance in the encore? Oof. That song is on my Mount Rushmore of shitbag rock songs that I cannot believe are popular.
the keys are probably the same as in 2007, many songs were transposed then too.
it's MOSTLY that, especially on the 4/5 man stuff, but I don't think it's set in stone. I'll have to go back, but I seem to recall watching either the Invisible Touch or We Can't Dance tours and thinking "Huh, Mike's playing bass on that!" when, by that system, he wouldn't be.
it's MOSTLY that, especially on the 4/5 man stuff, but I don't think it's set in stone. I'll have to go back, but I seem to recall watching either the Invisible Touch or We Can't Dance tours and thinking "Huh, Mike's playing bass on that!" when, by that system, he wouldn't be.
Of the post Hackett material that they've played live, I noticed Darryl plays guitar on the Duke Suite, Keep it Dark, No Reply at All, Jesus He Knows Me, The Lady Lies, It's Gonna Get Better, maybe Burning Rope?
Yeah, I was thinking it was the Duke Suite, but that didn't jive with the videos I mentioned so I didn't want to appear overly confused! :) :)
Seeing the YT clips of this current tour makes me so sad. Hearing these severely down-tuned songs with a chair-ridden Phil is just depressing.
Anyone else check out the Genesis Piano Project album that was released last month? I think theyve had some YouTube videos out for a while that we may have had posted in here. I half listened to it in the office this morning and then listened to One for the Vine with headphones over lunch. Nothing thats never been done before, but I still found it highly enjoyable.
https://m.youtube.com/playlist?list=OLAK5uy_liK9WyAE_IQr7u2y9H1IkHyzp32I_8lvw&playnext=1&index=1
Just got out of the second night at the Chicago concert. They really put on a great show. Really grateful I was able to see them!
SO I saw The Musical Box last night for the fourth time. This time was the "Genesis Extravaganza Volume 2", where they do three sets: the first is from the four-man incarnation, songs from A Trick Of The Tail and Wind And Wuthering. Since W&W is my favorite Genesis album, this was killer. At at least two points I had goosebumps on my arm. Sebastian ("Mike") and Denis ("Peter"/"Phil") are the back bone of the band, but last night Antoine Baril ("Phil" (drums)) and Ian ("Tony") were the real standouts. There were probably four or five moments where Antoine was just CRUSHING it and Sebastian and Ian (on either side of him) just smiled at him. They were having real fun, and it showed. Denis actually looks and sounds like Peter, and he's cultivated that (with some of the mannerisms) over the years, but he slips into the Phil role well, and his voice REALLY shines on songs like Ripples (not so much on Dance On A Volcano or 11th Earl Of Mar, but that's not to say it wasn't very good, just not "evocative" like, say, Supper's Ready, where you can really lose yourself.
I get it, it's a cover band, but these guys are the real deal, and are giving us something we can't see anywhere else. Plus, watching the ending of Cinema Show, with just Sebastian, Antoine and Ian on stage (like the real band did it) is so special. I've long written that the In The Cage Medley from Three Sides Live is my favorite piece of recorded music, and the bulk of that was performed last night and it was so good. I've been under a fair amount of stress lately, and basically went by myself, and sat in the very front row; it was a wonderful, escapist two and a half hours. Really needed that. (Though the guy next to me had seen them something like 45 times and had seen the original Genesis on the Selling England tour, so that was a treat to talk to him).
SO I saw The Musical Box last night for the fourth time. This time was the "Genesis Extravaganza Volume 2", where they do three sets: the first is from the four-man incarnation, songs from A Trick Of The Tail and Wind And Wuthering. Since W&W is my favorite Genesis album, this was killer. At at least two points I had goosebumps on my arm. Sebastian ("Mike") and Denis ("Peter"/"Phil") are the back bone of the band, but last night Antoine Baril ("Phil" (drums)) and Ian ("Tony") were the real standouts. There were probably four or five moments where Antoine was just CRUSHING it and Sebastian and Ian (on either side of him) just smiled at him. They were having real fun, and it showed. Denis actually looks and sounds like Peter, and he's cultivated that (with some of the mannerisms) over the years, but he slips into the Phil role well, and his voice REALLY shines on songs like Ripples (not so much on Dance On A Volcano or 11th Earl Of Mar, but that's not to say it wasn't very good, just not "evocative" like, say, Supper's Ready, where you can really lose yourself.)
I get it, it's a cover band, but these guys are the real deal, and are giving us something we can't see anywhere else. Plus, watching the ending of Cinema Show, with just Sebastian, Antoine and Ian on stage (like the real band did it) is so special. I've long written that the In The Cage Medley from Three Sides Live is my favorite piece of recorded music, and the bulk of that was performed last night and it was so good. I've been under a fair amount of stress lately, and basically went by myself, and sat in the very front row; it was a wonderful, escapist two and a half hours. Really needed that. (Though the guy next to me had seen them something like 45 times and had seen the original Genesis on the Selling England tour, so that was a treat to talk to him).
Lily went to see her dad and little brother perform and had the time of her life
https://www.instagram.com/p/CXIR-4ErTu3/?utm_medium=copy_link
SO I saw The Musical Box last night for the fourth time. This time was the "Genesis Extravaganza Volume 2", where they do three sets: the first is from the four-man incarnation, songs from A Trick Of The Tail and Wind And Wuthering. Since W&W is my favorite Genesis album, this was killer. At at least two points I had goosebumps on my arm. Sebastian ("Mike") and Denis ("Peter"/"Phil") are the back bone of the band, but last night Antoine Baril ("Phil" (drums)) and Ian ("Tony") were the real standouts. There were probably four or five moments where Antoine was just CRUSHING it and Sebastian and Ian (on either side of him) just smiled at him. They were having real fun, and it showed. Denis actually looks and sounds like Peter, and he's cultivated that (with some of the mannerisms) over the years, but he slips into the Phil role well, and his voice REALLY shines on songs like Ripples (not so much on Dance On A Volcano or 11th Earl Of Mar, but that's not to say it wasn't very good, just not "evocative" like, say, Supper's Ready, where you can really lose yourself.)
I get it, it's a cover band, but these guys are the real deal, and are giving us something we can't see anywhere else. Plus, watching the ending of Cinema Show, with just Sebastian, Antoine and Ian on stage (like the real band did it) is so special. I've long written that the In The Cage Medley from Three Sides Live is my favorite piece of recorded music, and the bulk of that was performed last night and it was so good. I've been under a fair amount of stress lately, and basically went by myself, and sat in the very front row; it was a wonderful, escapist two and a half hours. Really needed that. (Though the guy next to me had seen them something like 45 times and had seen the original Genesis on the Selling England tour, so that was a treat to talk to him).
Saw Musical Box a couple weeks ago and I can confirm everything you've said. It's a bit weird to see them doing Phil era songs but if you've ever wanted what Peter Gabriel would sound like singing Entangled or Robbery, Assault, and Battery then this is your chance.
I've seen them several times now including their "Black Show" where the set is parred down but they utilize a bunch of black lights. Apparently it's because Genesis lost some equipment or couldn't afford to bring part of their set so they improvised with a bunch of florescent stuff. Very cool.
Similar to you, I ran into a guy there who is a HUGE Genesis fan. I have no idea where he gets all his money but he has seen them at least half a dozen times on every leg of every tour INCLUDING the European shows. He even flew to Europe to see Genesis with Ray Wilson a bunch of times. I actually incidentally sat next to him at a Phil show a few years ago and then we just happened to be sitting one row apart at The Musical Box show a few months later.
Next year The Musical Box is doing the ENTIRE Lamb album. I never really dug that album UNTIL I saw Musical Box do about a third of the album a few years back. Now I still don't love it but there's something about seeing it live that is special.
SO I saw The Musical Box last night for the fourth time. This time was the "Genesis Extravaganza Volume 2", where they do three sets: the first is from the four-man incarnation, songs from A Trick Of The Tail and Wind And Wuthering. Since W&W is my favorite Genesis album, this was killer. At at least two points I had goosebumps on my arm. Sebastian ("Mike") and Denis ("Peter"/"Phil") are the back bone of the band, but last night Antoine Baril ("Phil" (drums)) and Ian ("Tony") were the real standouts. There were probably four or five moments where Antoine was just CRUSHING it and Sebastian and Ian (on either side of him) just smiled at him. They were having real fun, and it showed. Denis actually looks and sounds like Peter, and he's cultivated that (with some of the mannerisms) over the years, but he slips into the Phil role well, and his voice REALLY shines on songs like Ripples (not so much on Dance On A Volcano or 11th Earl Of Mar, but that's not to say it wasn't very good, just not "evocative" like, say, Supper's Ready, where you can really lose yourself.)
I get it, it's a cover band, but these guys are the real deal, and are giving us something we can't see anywhere else. Plus, watching the ending of Cinema Show, with just Sebastian, Antoine and Ian on stage (like the real band did it) is so special. I've long written that the In The Cage Medley from Three Sides Live is my favorite piece of recorded music, and the bulk of that was performed last night and it was so good. I've been under a fair amount of stress lately, and basically went by myself, and sat in the very front row; it was a wonderful, escapist two and a half hours. Really needed that. (Though the guy next to me had seen them something like 45 times and had seen the original Genesis on the Selling England tour, so that was a treat to talk to him).
Saw Musical Box a couple weeks ago and I can confirm everything you've said. It's a bit weird to see them doing Phil era songs but if you've ever wanted what Peter Gabriel would sound like singing Entangled or Robbery, Assault, and Battery then this is your chance.
I've seen them several times now including their "Black Show" where the set is parred down but they utilize a bunch of black lights. Apparently it's because Genesis lost some equipment or couldn't afford to bring part of their set so they improvised with a bunch of florescent stuff. Very cool.
Similar to you, I ran into a guy there who is a HUGE Genesis fan. I have no idea where he gets all his money but he has seen them at least half a dozen times on every leg of every tour INCLUDING the European shows. He even flew to Europe to see Genesis with Ray Wilson a bunch of times. I actually incidentally sat next to him at a Phil show a few years ago and then we just happened to be sitting one row apart at The Musical Box show a few months later.
Next year The Musical Box is doing the ENTIRE Lamb album. I never really dug that album UNTIL I saw Musical Box do about a third of the album a few years back. Now I still don't love it but there's something about seeing it live that is special.
Well, I saw when they did the "Lamb segment", and the only theatrics were Denis in a leather jacket and jeans (ala Rael).
SO I saw The Musical Box last night for the fourth time. This time was the "Genesis Extravaganza Volume 2", where they do three sets: the first is from the four-man incarnation, songs from A Trick Of The Tail and Wind And Wuthering. Since W&W is my favorite Genesis album, this was killer. At at least two points I had goosebumps on my arm. Sebastian ("Mike") and Denis ("Peter"/"Phil") are the back bone of the band, but last night Antoine Baril ("Phil" (drums)) and Ian ("Tony") were the real standouts. There were probably four or five moments where Antoine was just CRUSHING it and Sebastian and Ian (on either side of him) just smiled at him. They were having real fun, and it showed. Denis actually looks and sounds like Peter, and he's cultivated that (with some of the mannerisms) over the years, but he slips into the Phil role well, and his voice REALLY shines on songs like Ripples (not so much on Dance On A Volcano or 11th Earl Of Mar, but that's not to say it wasn't very good, just not "evocative" like, say, Supper's Ready, where you can really lose yourself.)
I get it, it's a cover band, but these guys are the real deal, and are giving us something we can't see anywhere else. Plus, watching the ending of Cinema Show, with just Sebastian, Antoine and Ian on stage (like the real band did it) is so special. I've long written that the In The Cage Medley from Three Sides Live is my favorite piece of recorded music, and the bulk of that was performed last night and it was so good. I've been under a fair amount of stress lately, and basically went by myself, and sat in the very front row; it was a wonderful, escapist two and a half hours. Really needed that. (Though the guy next to me had seen them something like 45 times and had seen the original Genesis on the Selling England tour, so that was a treat to talk to him).
Saw Musical Box a couple weeks ago and I can confirm everything you've said. It's a bit weird to see them doing Phil era songs but if you've ever wanted what Peter Gabriel would sound like singing Entangled or Robbery, Assault, and Battery then this is your chance.
I've seen them several times now including their "Black Show" where the set is parred down but they utilize a bunch of black lights. Apparently it's because Genesis lost some equipment or couldn't afford to bring part of their set so they improvised with a bunch of florescent stuff. Very cool.
Similar to you, I ran into a guy there who is a HUGE Genesis fan. I have no idea where he gets all his money but he has seen them at least half a dozen times on every leg of every tour INCLUDING the European shows. He even flew to Europe to see Genesis with Ray Wilson a bunch of times. I actually incidentally sat next to him at a Phil show a few years ago and then we just happened to be sitting one row apart at The Musical Box show a few months later.
Next year The Musical Box is doing the ENTIRE Lamb album. I never really dug that album UNTIL I saw Musical Box do about a third of the album a few years back. Now I still don't love it but there's something about seeing it live that is special.
Well, I saw when they did the "Lamb segment", and the only theatrics were Denis in a leather jacket and jeans (ala Rael).
Well yeah. I didn't mean I was blown away by him wearing a leather jacket but hearing it live and being able to watch the band really made me appreciate it more. Can't wait to see the full thing.
Saw Genesis in Columbus last night, and they put on a great show. Theyve been at the top of my concert bucket list since I was a kid, so it was great to finally see them live, for likely the only time. Tony, Mike, and Darryl were near flawless, and Nic Collins absolutely crushed it on drums. Phil, despite his limitations, really seemed to be enjoying himself. Lots of poignant moments, I think I saw Tony show emotion during the band introductions! The light show was impressive without being excessive, and the live mix was full and detailed. Even with having to transpose songs, and Phil at times struggling to sing in key and get the words sung in time, it was still a brilliant show and Im glad I got to finally see them.
Saw Genesis in Columbus last night, and they put on a great show. Theyve been at the top of my concert bucket list since I was a kid, so it was great to finally see them live, for likely the only time. Tony, Mike, and Darryl were near flawless, and Nic Collins absolutely crushed it on drums. Phil, despite his limitations, really seemed to be enjoying himself. Lots of poignant moments, I think I saw Tony show emotion during the band introductions! The light show was impressive without being excessive, and the live mix was full and detailed. Even with having to transpose songs, and Phil at times struggling to sing in key and get the words sung in time, it was still a brilliant show and Im glad I got to finally see them.
Saw them play UBS Arena at Belmont Park. As feeble as he looked, I thought Phil's vocals were quite strong.
Doug Helvering did "Mad Man Moon" today. https://www.youtube.com/watch?v=00oYnJ8YO1s
Great reaction video with a lot of the theory analysis that is his forte. He's done a few Genesis songs, and he always seems genuinely impressed with Tony's unique songwriting.
So I saw on "The Chase" that "Wuthering" actually means "windy". So my favorite Genesis album is actually called "Wind and Windy"?
(I always thought it was sort of the result of wind; that is, more like "wind blown".)
Doug Helvering did "Mad Man Moon" today. https://www.youtube.com/watch?v=00oYnJ8YO1s
Great reaction video with a lot of the theory analysis that is his forte. He's done a few Genesis songs, and he always seems genuinely impressed with Tony's unique songwriting.
Just watched that a bit earlier. I've now got the rest of the album playing because it's just so good. Trick and Wind are probably two of my favorite Genesis albums, definitely both as good as anything the band did with Peter Gabriel, IMO.
-Marc.
So I saw on "The Chase" that "Wuthering" actually means "windy". So my favorite Genesis album is actually called "Wind and Windy"?
(I always thought it was sort of the result of wind; that is, more like "wind blown".)
So I saw on "The Chase" that "Wuthering" actually means "windy". So my favorite Genesis album is actually called "Wind and Windy"?
(I always thought it was sort of the result of wind; that is, more like "wind blown".)
I always thought it was a reference to Wuthering Heights, and was mostly just about the romantic atmosphere of the music recalling that sort of a novel.
I always thought it was a reference to Wuthering Heights, and was mostly just about the romantic atmosphere of the music recalling that sort of a novel.
So I was going through my list of DTF Survivors that I've run here, and I noticed I've only done the Genesis Survivor ONCE, and that was back in 2012, so I think we are about due. It won't start til I'm done with my Dream Theater Survivor, so probably not until June or sometime this summer.
For those who are interested, you can check out the Genesis Survivor 2012 - Results & Discussion (https://www.dreamtheaterforums.org/boards/index.php?topic=31484.0) thread to see what the results were from a decade ago. Obviously the band haven't released any new studio material, so it'll be run the same way as before. It'll be fun to see how the results differ from a decade ago!
-Marc.
So I was going through my list of DTF Survivors that I've run here, and I noticed I've only done the Genesis Survivor ONCE, and that was back in 2012, so I think we are about due. It won't start til I'm done with my Dream Theater Survivor, so probably not until June or sometime this summer.
For those who are interested, you can check out the Genesis Survivor 2012 - Results & Discussion (https://www.dreamtheaterforums.org/boards/index.php?topic=31484.0) thread to see what the results were from a decade ago. Obviously the band haven't released any new studio material, so it'll be run the same way as before. It'll be fun to see how the results differ from a decade ago!
-Marc.
Holy crap...Robbery, Assault & Battery out FIRST on ATOTT??!! That might be the most unfathomable result I've seen on any survivor since I've been posting here.
It's heart-warming to see Peter and Phil together. It's like seeing James LaBrie with Portnoy after a decade, but even MORE so because, ya know, it's Genesis, and they've been a band for over 50 years now.
In one way, it's nice know that it was their last tour and show, so thing's have a certain finality, but it's also a bit bittersweet. Was it ever said that there would be a recording (audio or video) of this tour for future release? Or was this a "you had to be there" kind of event? Either way, I suppose the sun has finally set on Genesis.
Without derailing this thread too much, who else is still touring from the great 70s prog bands other than Yes, and I think, Jethro Tull? Not many of them left after Rush, Genesis, King Crimson, Pink Floyd, and many others.
-Marc.
It's heart-warming to see Peter and Phil together. It's like seeing James LaBrie with Portnoy after a decade, but even MORE so because, ya know, it's Genesis, and they've been a band for over 50 years now.
In one way, it's nice know that it was their last tour and show, so thing's have a certain finality, but it's also a bit bittersweet. Was it ever said that there would be a recording (audio or video) of this tour for future release? Or was this a "you had to be there" kind of event? Either way, I suppose the sun has finally set on Genesis.
Without derailing this thread too much, who else is still touring from the great 70s prog bands other than Yes, and I think, Jethro Tull? Not many of them left after Rush, Genesis, King Crimson, Pink Floyd, and many others.
-Marc.
Steve Hackett soldiers on doing justice to the early Genesis material as well as his own, but his band is made up of younger guys. Nick Mason also does the Saucer Full Of Secrets thing for PF, but the original bands are few and far between. Heck, theres not much difference between what Hackett and Mason are doing and the current Yes lineup, which is basically just Howe and some other guys. Andrew Latimer has managed to keep a version of Camel touring as well.
That's a good point about Howe/Hackett. Maybe they should just have a GTR reunion tour and call it a day. :lol Kidding. Hackett waving the classic-Genesis flag is a brilliant move, and he's having more success (with fans) than Howe, at least from some comments I've read online. Seems like the old guard of 70s bands is slowly fading away. In another decade, acts like Marillion and IQ may be the next to go, then folks like Roine Stolt, Neal Morse, and Steven Wilson in the 2040s/2050s. The march of time is tough one, but I guess we just have to take it all in stride.
-Marc.
It's heart-warming to see Peter and Phil together. It's like seeing James LaBrie with Portnoy after a decade, but even MORE so because, ya know, it's Genesis, and they've been a band for over 50 years now.
-Marc.
It's heart-warming to see Peter and Phil together. It's like seeing James LaBrie with Portnoy after a decade, but even MORE so because, ya know, it's Genesis, and they've been a band for over 50 years now.
-Marc.
But unlike James and MP, there was never any bad blood or ill will between Phil and Peter. Phil was best man in Peter's 2004 wedding to his current wife. The whole band has maintained good friendships through the years.
Yeah, they're all on good terms outside of Genesis. When Prog magazine awarded Tony Banks with their Prog God award, it was Peter that introduced him. The only real tensions between the band members were creative tensions, and those were mostly between Tony and Mike on one side, and Peter and Steve on the other, with Phil in the middle, and probably the most notable between Tony and Peter, and then later Tony and Steve. With that, they were still good friends outside of the band, as that interview footage that has been posted clearly suggests.
Yeah, they're all on good terms outside of Genesis. When Prog magazine awarded Tony Banks with their Prog God award, it was Peter that introduced him. The only real tensions between the band members were creative tensions, and those were mostly between Tony and Mike on one side, and Peter and Steve on the other, with Phil in the middle, and probably the most notable between Tony and Peter, and then later Tony and Steve. With that, they were still good friends outside of the band, as that interview footage that has been posted clearly suggests.
Yeah, they're all on good terms outside of Genesis. When Prog magazine awarded Tony Banks with their Prog God award, it was Peter that introduced him. The only real tensions between the band members were creative tensions, and those were mostly between Tony and Mike on one side, and Peter and Steve on the other, with Phil in the middle, and probably the most notable between Tony and Peter, and then later Tony and Steve. With that, they were still good friends outside of the band, as that interview footage that has been posted clearly suggests.
Contrary to popular wisdom, I always got the sense - the Archive re-recordings notwithstanding - that PETER was just as reluctant to revisit the early days as Tony was. In fact, maybe more so. To my knowledge, with the exception of the '81 reunion show at Milton Keynes, Peter only ever performed "Back In NYC" after leaving. He never had a song over 7:00, and rarely that (until his last LP). I don't think this is really "Prog" (Peter/Steve) vs. "Pop" (Tony/Mike). I think it's really about "past and future" and only Phil and Steve are that keen on looking back, really.
2nd part of the reunion was just put up.
https://www.youtube.com/watch?v=Ml7oiSYgtxs
2nd part of the reunion was just put up.
https://www.youtube.com/watch?v=Ml7oiSYgtxs
Part 3 is now up
https://www.youtube.com/watch?v=C1eux1slrpE
some comments reminded me how in the actual Documentary, there was not a lot from Steve, but it was edited-out.
Also the Tony comments about The Lamb again is a reminder of Peter and Tony's feelings about it and why he left, why Peter never did a reunion, etc.
the same fan who made those others (The Lamb, Trick, Wind & Wuthering), made a Nursery Cryme documentary.https://www.youtube.com/watch?v=IO5hL-0MeJs
https://www.youtube.com/watch?v=WQ4XfbpS_bc
the same fan who made those others (The Lamb, Trick, Wind & Wuthering), made a Nursery Cryme documentary.https://www.youtube.com/watch?v=IO5hL-0MeJs
https://www.youtube.com/watch?v=WQ4XfbpS_bc
and the guy made another one, this time with Duke (his plans are to make 1 for every record, which should prove fun to keep watching).
2nd part of the reunion was just put up.
https://www.youtube.com/watch?v=Ml7oiSYgtxs
Part 3 is now up
https://www.youtube.com/watch?v=C1eux1slrpE
some comments reminded me how in the actual Documentary, there was not a lot from Steve, but it was edited-out.
Also the Tony comments about The Lamb again is a reminder of Peter and Tony's feelings about it and why he left, why Peter never did a reunion, etc.
It's been over a decade since the last one, so I was thinking of doing another Genesis Survivor here in the Polls/Survivor subforum.
You can view the 2012 Genesis Survivor here!
(https://www.dreamtheaterforums.org/boards/index.php?topic=31484.0)
If it seems like I can get at least 4 or 5 folks interested, I'll start it up later this week(end). Unlike last time, I'm gonna streamline this Survivor and just stick to the main 15 studio albums, no B-Sides, non-album songs, or bonus tracks.
I've been on a Genesis kick lately, almost forgetting I wanted to bring back this Survivor, but maybe spinning their first 10 albums over the last couple of weeks has probably been a subconscious hint to do it now! Anyways, if there's interest, be sure to check the Polls/Survivor subforum here later this week to see when it'll start!
-Marc.
Mike Rutherford's Smallcreep's Day is being reissued on CD on March 25th. I've never gotten to hear it before (I know I could probably find it on YouTube), so looking forward to this.
https://www.loudersound.com/news/mike-rutherfords-smallcreeps-day-to-get-cd-reissue-in-march
Looks like it may only be a UK release right now. Hopefully not too expensive to get a hold of over in the States.
Mike Rutherford's Smallcreep's Day is being reissued on CD on March 25th. I've never gotten to hear it before (I know I could probably find it on YouTube), so looking forward to this.
https://www.loudersound.com/news/mike-rutherfords-smallcreeps-day-to-get-cd-reissue-in-march
Looks like it may only be a UK release right now. Hopefully not too expensive to get a hold of over in the States.
So I totally forgot that this was being re-issued this year. Just saw it pop up the other day on Amazon and snatched a copy. First time hearing it tonight, and it is a wonderful album! No idea why Mike supposedly hated it so much. Has a really unique atmosphere, somewhere between Abacab, Duke, and The Lamb.
Mike Rutherford's Smallcreep's Day is being reissued on CD on March 25th. I've never gotten to hear it before (I know I could probably find it on YouTube), so looking forward to this.
https://www.loudersound.com/news/mike-rutherfords-smallcreeps-day-to-get-cd-reissue-in-march
Looks like it may only be a UK release right now. Hopefully not too expensive to get a hold of over in the States.
So I totally forgot that this was being re-issued this year. Just saw it pop up the other day on Amazon and snatched a copy. First time hearing it tonight, and it is a wonderful album! No idea why Mike supposedly hated it so much. Has a really unique atmosphere, somewhere between Abacab, Duke, and The Lamb.
I wonder if he hated Acting Very Strange too. Because that album was... well, very strange.
Mike Rutherford's Smallcreep's Day is being reissued on CD on March 25th. I've never gotten to hear it before (I know I could probably find it on YouTube), so looking forward to this.
https://www.loudersound.com/news/mike-rutherfords-smallcreeps-day-to-get-cd-reissue-in-march
Looks like it may only be a UK release right now. Hopefully not too expensive to get a hold of over in the States.
So I totally forgot that this was being re-issued this year. Just saw it pop up the other day on Amazon and snatched a copy. First time hearing it tonight, and it is a wonderful album! No idea why Mike supposedly hated it so much. Has a really unique atmosphere, somewhere between Abacab, Duke, and The Lamb.
Mike Rutherford's Smallcreep's Day is being reissued on CD on March 25th. I've never gotten to hear it before (I know I could probably find it on YouTube), so looking forward to this.
https://www.loudersound.com/news/mike-rutherfords-smallcreeps-day-to-get-cd-reissue-in-march
Looks like it may only be a UK release right now. Hopefully not too expensive to get a hold of over in the States.
So I totally forgot that this was being re-issued this year. Just saw it pop up the other day on Amazon and snatched a copy. First time hearing it tonight, and it is a wonderful album! No idea why Mike supposedly hated it so much. Has a really unique atmosphere, somewhere between Abacab, Duke, and The Lamb.
Digitally remastered recordings of BBC 'in concert' and radio sessions from 1972, plus 4 tracks from a Brussels TV broadcast.
The innovative Gabriel, Hackett, Collins, Banks and Rutherford quintet perform early masterpieces The Musical Box, Watcher Of The Skies and The Return Of The Giant Hogweed as well as non-album oddity, Twilight Alehouse.
CD1
1. The Return Of The Giant Hogweed 7.51
2. Harold The Barrel 2.57
3. The Fountain Of Salmacis 7.41
4. Harlequin 2.39*
5. The Fountain Of Salmacis 8.31
6. Story of Old Henry/The Musical Box 12.26
7. The Return Of The Giant Hogweed 7.58
Tracks 1-4 Sounds Of The Seventies
First Broadcast: 28th January 1972, * 17th March 1972
Tracks 5-7 In Concert. First Broadcast: 11th March 1972
CD2
1. Twilight Alehouse 7.58
2. Watcher Of The Skies 7.41
3. Get'em Out By Friday 8.40
4. The Fountain Of Salmacis 7.27
5. Twilight Alehouse 5.50
6. The Musical Box 9.39
7. The Return Of The Giant Hogweed 5.45
Tracks 1-3 Top Gear
First Broadcast: 9th November 1972
Tracks 4-7 POP SHOP TV Broadcast, Brussels, Belgium
20th & 21st March 1972
A 5 CD box set of BBC broadcast recordings will be released March 3.
https://www.genesis-news.com/news-Genesis-BBC-boxset-to-be-released-soon-n843.html
CD 1: Early BBC 1970-1975
CD 2-3: Knebworth 1978 / Lyceum 1980
CD 4: Wembley 1987 / Birmingham 1998
CD 5: Knebworth 1992
I have a boot of Lyceum 1980 and a lot of it is the same soundboard used for Three Sides Live, and of the same quality. I actually combined the two in a playlist because it's awesome having the six-part Duke suite all together. That was the only tour that they played the whole thing.
Yeah, it would be nice to sample the sound quality first, but these BBC recordings are usually pretty high quality if not very high quality.
Just wanted to give props to side 4 of Three Sides Live. Every one of those songs is SO DAMN GOOD. Paperlate is cool. Me and Virgil should resonates with anyone who grew up without a father (and is just an excellent story song). And the other three songs were pretty much the soundtrack to one of my breakups in the early '90s. Excellent stuff.
A 5 CD box set of BBC broadcast recordings will be released March 3.
https://www.genesis-news.com/news-Genesis-BBC-boxset-to-be-released-soon-n843.html
CD 1: Early BBC 1970-1975
CD 2-3: Knebworth 1978 / Lyceum 1980
CD 4: Wembley 1987 / Birmingham 1998
CD 5: Knebworth 1992
I love Paperlate and You Might Recall, but Me and Virgil is one of my least favorite Genesis songs. Never really thought about the lyrics, but musically its got some major Waltons vibes.
Coincidentally, I just this week picked up a copy of 3 Sides Live, but I went for the remaster version with the additional live tracks since I already have those other songs from the remix boxset.
I love Paperlate and You Might Recall, but Me and Virgil is one of my least favorite Genesis songs. Never really thought about the lyrics, but musically its got some major Waltons vibes.
Coincidentally, I just this week picked up a copy of 3 Sides Live, but I went for the remaster version with the additional live tracks since I already have those other songs from the remix boxset.
Waltons vibes? :lol I get what you're saying, though.
I find it odd that the UK version of Three Sides Live has all four sides of live material. I put the UK version CD in my Amazon cart because I'd like to have that extra live material. We'll see if I pull the trigger on it.
Just wanted to give props to side 4 of Three Sides Live. Every one of those songs is SO DAMN GOOD. Paperlate is cool. Me and Virgil should resonates with anyone who grew up without a father (and is just an excellent story song). And the other three songs were pretty much the soundtrack to one of my breakups in the early '90s. Excellent stuff.
Just wanted to give props to side 4 of Three Sides Live. Every one of those songs is SO DAMN GOOD. Paperlate is cool. Me and Virgil should resonates with anyone who grew up without a father (and is just an excellent story song). And the other three songs were pretty much the soundtrack to one of my breakups in the early '90s. Excellent stuff.
I love Paperlate and You Might Recall, but Me and Virgil is one of my least favorite Genesis songs. Never really thought about the lyrics, but musically its got some major Waltons vibes.
Coincidentally, I just this week picked up a copy of 3 Sides Live, but I went for the remaster version with the additional live tracks since I already have those other songs from the remix boxset.
Just wanted to give props to side 4 of Three Sides Live. Every one of those songs is SO DAMN GOOD. Paperlate is cool. Me and Virgil should resonates with anyone who grew up without a father (and is just an excellent story song). And the other three songs were pretty much the soundtrack to one of my breakups in the early '90s. Excellent stuff.
I love Paperlate and You Might Recall, but Me and Virgil is one of my least favorite Genesis songs. Never really thought about the lyrics, but musically its got some major Waltons vibes.
Coincidentally, I just this week picked up a copy of 3 Sides Live, but I went for the remaster version with the additional live tracks since I already have those other songs from the remix boxset.
Ok, who did this track indexing on this? They split One for the Vine up as two separate tracks, but then combined Salmacis and It (plus a snippet of Watcher of the Skies) into one track. Why? Maybe because that was all from a different show? Still doesnt make sense to split of OFTV.
Did some painting last weekend and spun ABACAB. Seriously love that album minus one bad song. Many memories tied to it.
Did some painting last weekend and spun ABACAB. Seriously love that album minus one bad song. Many memories tied to it.
Did some painting last weekend and spun ABACAB. Seriously love that album minus one bad song. Many memories tied to it.
ABACAB is the album that I would have ranked lower in their discography a few years ago, but over the past few years it has really grown on me. I love a lot of the quirkiness of that album. Dodo/Lurker is my favorite Genesis song, and I love pretty much everything on ABACAB including the stuff they left off the album. Even that one bad song (Whodunnit I'm guessing) scratches an itch every one in awhile.
Just got tickets for The Musical Box on June 15th, doing the full Lamb Lies Down show, in Norwalk, CT. I was just for shits and giggles looking at the The Musical Box website (not one of the best in the world, mind you) and saw the shows, three of them, one in CT and two in NY, coming up in a week or so.
I've seen them three times - two with the "Selling England..." setlist, including one "The Black Show", and Vol. 2 of the "Extravaganza" setlist - and they are phenomenal. I've missed the three previous Lamb tours for various reasons, so I'm really jazzed to see it finally.
Did some painting last weekend and spun ABACAB. Seriously love that album minus one bad song. Many memories tied to it.
By the way, I didn't write a formal review, but The Musical Box SLAYED this past week performing the Lamb. SO freaking good, and gave the album (already a favorite of mine) new life. Even if it did sort of reinforce that idea that the second half meanders a little bit! :) I was once again blown away by Marc Laflamme, who does complete justice to the drumming of Phil Collins, as well as the full commitment of Denis Gagn in the role of Peter Gabriel.
By the way, I didn't write a formal review, but The Musical Box SLAYED this past week performing the Lamb. SO freaking good, and gave the album (already a favorite of mine) new life. Even if it did sort of reinforce that idea that the second half meanders a little bit! :) I was once again blown away by Marc Laflamme, who does complete justice to the drumming of Phil Collins, as well as the full commitment of Denis Gagn in the role of Peter Gabriel.
Remember when we used to disagree on everything? Well, those days are long gone. Although I would say the entire band blew me away. Also, I previously mentioned Lamb is probably my least favorite Genesis album but KILLS in concert. Even with my newfound appreciation, the second half definitely meanders. We actually had to leave early because the damn thing started late, we couldn't get a hotel within a half hour drive, and had we stayed it wouldn't have finished til midnight. So imbsad I missed some but hey, the second half is definitely weaker
By the way, I didn't write a formal review, but The Musical Box SLAYED this past week performing the Lamb. SO freaking good, and gave the album (already a favorite of mine) new life. Even if it did sort of reinforce that idea that the second half meanders a little bit! :) I was once again blown away by Marc Laflamme, who does complete justice to the drumming of Phil Collins, as well as the full commitment of Denis Gagn in the role of Peter Gabriel.
Remember when we used to disagree on everything? Well, those days are long gone. Although I would say the entire band blew me away. Also, I previously mentioned Lamb is probably my least favorite Genesis album but KILLS in concert. Even with my newfound appreciation, the second half definitely meanders. We actually had to leave early because the damn thing started late, we couldn't get a hotel within a half hour drive, and had we stayed it wouldn't have finished til midnight. So imbsad I missed some but hey, the second half is definitely weaker
Ive gotten on a big Genesis kick the last few weeks for whatever reason. Listening to a bunch of live stuff mostly, but also was revisiting their self-titled album, which is actually the first full Genesis album I heard. I know Luke doesnt like the sound of the 80s, so thats probably not a great one to start with. But man Second Home By The Sea remains one of the most gorgeous pieces of music they wrote. The best parts of Genesis are where they hit on one big soaring melody, usually a Banks keyboard theme but sometimes a Hackett guitar theme. Think Second Home, Cinema Show, the end of Suppers Ready, Stagnation, Fading Lights, etc. So many of them, but all so good.
If you listen to Selling England..., Wind And Withering, Duke and Invisible Touch and don't like it, then you probably aren't going to be a fan.
I still have never heard Calling All Stations and have zero desire to check it out.
I'll take your word for it. ;)
Back to the good stuff, I have been checking out some of their b-sides/non album tracks lately that I had previous never heard. Some good stuff in there. Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
I'll take your word for it. ;)
Back to the good stuff, I have been checking out some of their b-sides/non album tracks lately that I had previous never heard. Some good stuff in there. Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Paperlate had a video that may have been played on MTV back in the day. Its a great song.
Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Paperlate got considerable airplay, at least where we live (Midwest). It was the "other" Genesis song with the Phoenix Horns (aka the Earth, Wind & Fire horn section). The one everyone knows was No Reply At All. Both were recorded during the Abacab sessions, but they felt like they should only keep one for the album, so No Reply At All became the single and Paperlate was relegated to B-side/unreleased status. That is, until it showed up on the (original) U.S. release of Three Sides Live. I definitely remember hearing it on the radio around then.
Listening to CAS now, and I think Id be willing to say its on the same level as We Cant Dance. I probably listen to it more than We Cant Dance. Its better than most prog bands produced at the end of their careers.
Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Paperlate got considerable airplay, at least where we live (Midwest). It was the "other" Genesis song with the Phoenix Horns (aka the Earth, Wind & Fire horn section). The one everyone knows was No Reply At All. Both were recorded during the Abacab sessions, but they felt like they should only keep one for the album, so No Reply At All became the single and Paperlate was relegated to B-side/unreleased status. That is, until it showed up on the (original) U.S. release of Three Sides Live. I definitely remember hearing it on the radio around then.
I can understand that decision at the time as they probably thought that two songs with the horns might be too much, but what I cannot understand is how they thought Who Dunnit? was good enough to put on the record. I never heard that song until a few years ago, and I remember thinking, "this probably won't be as bad as everyone says it is." And yet it was. :lol Just goes to show that even the best bands swing and miss badly sometimes, even when otherwise on their game.
Tony talks about this a bit in the interviews that came with the box sets a couple years ago. ABACAB is - FOR GENESIS - a very progressive record, in terms of doing things that they hadn't done before. Some of it is sort of lost on listeners - "No Reply At All" and "Me And Sarah Jane" don't SOUND all that progressive - but the running rule was to avoid all the sort of things that people thought of when they thought "Genesis". The use of horns; the first time the band had guest musicians on a track (not really true; Brian Eno performed on The Lamb, for example, but this was a prominent place on the song). Unusual song structures ("MASJ" is in I think five parts and none of them repeat throughout the song). Most of the songs (six out of nine) were written from jam sessions between the three band members, a trick first started during the Duke sessions. They purposefully nixed the idea of a suite (the "Dodo/Lurker/Submarine/Naminanu" or "Naminanu/Dodo/Lurker/Submarine" run, depending who you listen to; the other two songs were b-sides) because they flirted with that on Duke.
"Whodunnit?" was supposed to show that they didn't take themselves so seriously. It was SUPPOSED to be different. The band loved it; they played it live, switching instruments (Rutherford played drums with Chester during the song), and it was almost a single. Ahmet Ertegun, label head, WANTED it as a single.
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Anybody here seen The Musical Box? They're coming to Alexandria in January and I'm curious.
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Anybody here seen The Musical Box? They're coming to Alexandria in January and I'm curious.
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Yup, it's amazing.
On the flip side, I am still trying to figure out how Your Own Special Way got past the guards to make it on to W&W. Same goes for More Fool Me with Selling England.
I would say the two Genesis albums I can listen to and don't even think about skipping over any song are A Trick of the Tail and Duke. Trick is a top 3 Genesis album for me along with Selling England and The Lamb. Even though Duke is consistent and has some really good highs, I don't think its highs are among the band's best. To unpack that a little, if we did a top x-number of songs for Genesis, I doubt anything would make my top 20 (maybe one would squeeze in near the bottom), but if we went 50 deep, there'd probably be 5-6 in the 21-50 range. Just spitballing, but there is no The Cinema Show or Supper's Ready or Mad Man Moon or The Lamia on Duke, for me. Still a damn good record, regardless. :tup :tup
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Yup, it's amazing.
On the flip side, I am still trying to figure out how Your Own Special Way got past the guards to make it on to W&W.
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Yup, it's amazing.
On the flip side, I am still trying to figure out how Your Own Special Way got past the guards to make it on to W&W. Same goes for More Fool Me with Selling England.
I would say the two Genesis albums I can listen to and don't even think about skipping over any song are A Trick of the Tail and Duke. Trick is a top 3 Genesis album for me along with Selling England and The Lamb. Even though Duke is consistent and has some really good highs, I don't think its highs are among the band's best. To unpack that a little, if we did a top x-number of songs for Genesis, I doubt anything would make my top 20 (maybe one would squeeze in near the bottom), but if we went 50 deep, there'd probably be 5-6 in the 21-50 range. Just spitballing, but there is no The Cinema Show or Supper's Ready or Mad Man Moon or The Lamia on Duke, for me. Still a damn good record, regardless. :tup :tup
Its interesting, because Duke is my favorite Genesis album, but I agree it is maybe more of a sum of its parts thing. I think the Behind The Lines/Guide Vocal/Dukes Travels/Dukes End collectively are up there with any of the other great Genesis moments musically, but being separated across the record maybe obscures that a little. I love Duchess and Man of Our Times as well, but they are more album tracks maybe. Please Dont Ask is also perfect where it sits on the album. Alone Tonight is the underrated gem from Duke IMO.
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Yup, it's amazing.
On the flip side, I am still trying to figure out how Your Own Special Way got past the guards to make it on to W&W. Same goes for More Fool Me with Selling England.
I would say the two Genesis albums I can listen to and don't even think about skipping over any song are A Trick of the Tail and Duke. Trick is a top 3 Genesis album for me along with Selling England and The Lamb. Even though Duke is consistent and has some really good highs, I don't think its highs are among the band's best. To unpack that a little, if we did a top x-number of songs for Genesis, I doubt anything would make my top 20 (maybe one would squeeze in near the bottom), but if we went 50 deep, there'd probably be 5-6 in the 21-50 range. Just spitballing, but there is no The Cinema Show or Supper's Ready or Mad Man Moon or The Lamia on Duke, for me. Still a damn good record, regardless. :tup :tup
Its interesting, because Duke is my favorite Genesis album, but I agree it is maybe more of a sum of its parts thing. I think the Behind The Lines/Guide Vocal/Dukes Travels/Dukes End collectively are up there with any of the other great Genesis moments musically, but being separated across the record maybe obscures that a little. I love Duchess and Man of Our Times as well, but they are more album tracks maybe. Please Dont Ask is also perfect where it sits on the album. Alone Tonight is the underrated gem from Duke IMO.
Couple things: do you ever play with Playlists? I reordered Duke once to have the suite together, and the other songs as side two. I also had a playlist with the "Abacab Complete" (much like the famous tape that the band sent to journalists in advance of the Abacab release that had all the b-sides on it, as well as the Dodo suite). You can also do a suite with Dance On A Volcano, It's Yourself, and Los Endos.
Also, I'm SURE we've talked about this before, but find the solo "Please Don't Ask" from the "Face Value" behind the album DVD. It's just Phil at the piano; he tells the story behind it, and it's incredibly moving. He even takes a pause after playing it and you know it means something more to him.
I love those non-suite songs on Duke. All of them. Heathaze and Cul-de-sac are both underrated gems, IMO.
Anybody here seen The Musical Box? They're coming to Alexandria in January and I'm curious.
Seen them 4 times, highly recommend!
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Yup, it's amazing.
On the flip side, I am still trying to figure out how Your Own Special Way got past the guards to make it on to W&W.
I substituted Inside & Out for Your Own Special Way and it flows a bit better.
I dont mind Your Own Special Way, but it is definitely an inferior song to Inside & Out and the most skippable track on W&W. Mike was really trying to write that hit tune, man.
Its funny, because as much as people want to blame Phil for Genesis going pop, Rutherford is the one behind a lot of their hits . Follow You Follow Me, Turn It On Again, Land of Confusion, Throwing it All Away, and then Your Own Special Way and More Fool Me were his as well.
I substituted Inside & Out for Your Own Special Way and it flows a bit better.
Random thought: I will stand by Blood on the Rooftops as being one of the most gorgeous songs the band ever did. That song is something else. :hefdaddy :hefdaddy
Agree. Come back to it just about as often as any other Genesis song.
Yup, it's amazing.
On the flip side, I am still trying to figure out how Your Own Special Way got past the guards to make it on to W&W. Same goes for More Fool Me with Selling England.
I would say the two Genesis albums I can listen to and don't even think about skipping over any song are A Trick of the Tail and Duke. Trick is a top 3 Genesis album for me along with Selling England and The Lamb. Even though Duke is consistent and has some really good highs, I don't think its highs are among the band's best. To unpack that a little, if we did a top x-number of songs for Genesis, I doubt anything would make my top 20 (maybe one would squeeze in near the bottom), but if we went 50 deep, there'd probably be 5-6 in the 21-50 range. Just spitballing, but there is no The Cinema Show or Supper's Ready or Mad Man Moon or The Lamia on Duke, for me. Still a damn good record, regardless. :tup :tup
Its interesting, because Duke is my favorite Genesis album, but I agree it is maybe more of a sum of its parts thing. I think the Behind The Lines/Guide Vocal/Dukes Travels/Dukes End collectively are up there with any of the other great Genesis moments musically, but being separated across the record maybe obscures that a little. I love Duchess and Man of Our Times as well, but they are more album tracks maybe. Please Dont Ask is also perfect where it sits on the album. Alone Tonight is the underrated gem from Duke IMO.
Couple things: do you ever play with Playlists? I reordered Duke once to have the suite together, and the other songs as side two. I also had a playlist with the "Abacab Complete" (much like the famous tape that the band sent to journalists in advance of the Abacab release that had all the b-sides on it, as well as the Dodo suite). You can also do a suite with Dance On A Volcano, It's Yourself, and Los Endos.
Also, I'm SURE we've talked about this before, but find the solo "Please Don't Ask" from the "Face Value" behind the album DVD. It's just Phil at the piano; he tells the story behind it, and it's incredibly moving. He even takes a pause after playing it and you know it means something more to him.
I love those non-suite songs on Duke. All of them. Heathaze and Cul-de-sac are both underrated gems, IMO.
It's funny; W&W is a top five album ALL TIME for me, and yet... I HATE "Your Own Special Way". Sappy, dippy, and not really up to snuff with the rest of the record. A record that is, for me, SO GOOD otherwise that it still reaches the top five.
Why? Because when I first got into Genesis, I was still making cassette tapes. Funny enough - almost as if the band KNEW but didn't want to tell Mike Rutherford - the album is 51:03 long, and by cutting "YOSW" (6:19), you get 44 minutes, 44 seconds, PERFECT for one side of a 90-minute Maxell tape. ;) (And funny enough, ATOTT minus "Robbery, Assault and Battery" fits just as well. Funny enough, RA&B is also my least favorite on ATOTT, though it slays on Seconds Out).
Not that I think More Fool Me is a great song, but ... it's short. Your Own Special Way feels like it's about 17 minutes long.
Not that I think More Fool Me is a great song, but ... it's short. Your Own Special Way feels like it's about 17 minutes long.
All of this.
I also +1 the hate of RAAB. But I cant cry too much, because one of my most beloved songs from WAW is a song that everyone else seems to like on as being too silly. All in a Mouses Night.
All In A Mouses Night is great, if a bit silly.
Robbery Assault & Battery is generally annoying except for the instrumental section which is fantastic.
The third in the trio of silly songs about nighttime is Scenes From a Nights Dream, which is quite regrettable through and through.
All In A Mouses Night is great, if a bit silly.
Robbery Assault & Battery is generally annoying except for the instrumental section which is fantastic.
The third in the trio of silly songs about nighttime is Scenes From a Nights Dream, which is quite regrettable through and through.
Poor little Nemo!!!! Another song I love. The only song I really don't like on ...ATTWT is "Say It's Alright Joe".
Snowbound is the one from ATTWT that I tend to lump in with songs like Your Own Special Way. Its got a super sappy chorus that just sounds dumb to me for some reason.
I consider it for completists only. Banks and Rutherford are both excellent musicians and can be pretty good songwriters, so it's not like the final album is totally without merit. There's some good stuff. But the album overall suffers from being only half-baked (by their own admission) and the songs are pretty inconsistent.
I'll take your word for it. ;)
Back to the good stuff, I have been checking out some of their b-sides/non album tracks lately that I had previous never heard. Some good stuff in there. Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
There are two versions of Three Sides Live. One consists completey of live version, the other one has some studio tracks on the fourth side, among them Paperlate and other songs from the 3x3 EP and some Duke b-sides.
Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Paperlate got considerable airplay, at least where we live (Midwest). It was the "other" Genesis song with the Phoenix Horns (aka the Earth, Wind & Fire horn section). The one everyone knows was No Reply At All. Both were recorded during the Abacab sessions, but they felt like they should only keep one for the album, so No Reply At All became the single and Paperlate was relegated to B-side/unreleased status. That is, until it showed up on the (original) U.S. release of Three Sides Live. I definitely remember hearing it on the radio around then.
Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Paperlate got considerable airplay, at least where we live (Midwest). It was the "other" Genesis song with the Phoenix Horns (aka the Earth, Wind & Fire horn section). The one everyone knows was No Reply At All. Both were recorded during the Abacab sessions, but they felt like they should only keep one for the album, so No Reply At All became the single and Paperlate was relegated to B-side/unreleased status. That is, until it showed up on the (original) U.S. release of Three Sides Live. I definitely remember hearing it on the radio around then.
I can understand that decision at the time as they probably thought that two songs with the horns might be too much, but what I cannot understand is how they thought Who Dunnit? was good enough to put on the record. I never heard that song until a few years ago, and I remember thinking, "this probably won't be as bad as everyone says it is." And yet it was. :lol Just goes to show that even the best bands swing and miss badly sometimes, even when otherwise on their game.
I'll take your word for it. ;)
Back to the good stuff, I have been checking out some of their b-sides/non album tracks lately that I had previous never heard. Some good stuff in there. Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Stone cold classic. but then anything from '76 to '83 is in my Genesis wheelhouse. Love everything from that period.
Mad man moon: probably the best song they never played live. A Trick of the tail is my all time favorite album. So withou any bass tab to find on the net, I took my time and did a cover of Mad man moon that you might want to hear.
https://www.youtube.com/watch?v=BZJFWnPJyQo
Mad man moon: probably the best song they never played live. A Trick of the tail is my all time favorite album. So withou any bass tab to find on the net, I took my time and did a cover of Mad man moon that you might want to hear.
https://www.youtube.com/watch?v=BZJFWnPJyQo
"Mad Man Moon" is my favorite song on a really good album.
Alan Parsons must have been a fan, too, if you've heard "Silence and I".
That break in the middle would be nearly impossible to recreate live. It's basically a miniature piano concerto; you can hear the strings, woodwinds, percussion, brass, everything. I think of it as one of Tony's early ventures into the neo-Classical stuff he does now with a real orchestra. Back then he had to do it all with synthesizers.
I'll take your word for it. ;)
Back to the good stuff, I have been checking out some of their b-sides/non album tracks lately that I had previous never heard. Some good stuff in there. Paperlate feels like a song I had to have heard somewhere, but I cannot imagine where that would have been.
Stone cold classic. but then anything from '76 to '83 is in my Genesis wheelhouse. Love everything from that period.
Yeah, the consistency in that era as something else. A Trick of the Tail and Duke are two albums I can turn on and never think about hitting skip over any song, which I cannot say about any PG-era album, even my favorites like Selling England and The Lamb (More Fool Me and The Waiting Room can both go jump in a lake).
Agreed on that. I like Peter, but Phil just has the better voice to me. It's funny how they sound somewhat similar on the early records in places. To me, Phil really found his voice in the late 70's to mid 80's era. I love listening to shows from that era.