TotW 01/23/2023 - 01/29/2023: GENESIS - Dreaming While You Sleep

  • Your rating for "Dreaming While You Sleep" by GENESIS 28

    1. 15 points - outstanding (5) 18%
    2. 14 points - very good (10) 36%
    3. 13 points - very good - (3) 11%
    4. 12 points - good + (0) 0%
    5. 11 points - good (0) 0%
    6. 10 points - good - (3) 11%
    7. 09 points - satisfactory + (0) 0%
    8. 08 points - satisfactory (3) 11%
    9. 07 points - satisfactory - (1) 4%
    10. 06 points - sufficient + (2) 7%
    11. 05 points - sufficient (1) 4%
    12. 04 points - sufficient - (0) 0%
    13. 03 points - poor + (0) 0%
    14. 02 points - poor (0) 0%
    15. 01 points - poor - (0) 0%
    16. 00 points - abysmal (0) 0%

    We invite you to share interesting facts and tidbits about this track. Let's look at the track in the context of the band's / the artist's history, at the music, the songwriting and all other aspects that are relevant for this track. Please do stick to the discussion of the track above. Comparisons to other tracks are okay, but remember that the other track you may be keen to talk about has or will have its own Track Of The Week thread. If you spot a mistake or if you can close a gap in the fact sheet above please feel free to contact martinus or Christian about it; we will gladly add and improve!


    GENESIS - Dreaming While You Sleep
    Year: 1991
    Album: We Can't Dance
    Working title: Rolling Toms
    Credits: Banks, Collins, Rutherford
    Lyrics: Yes
    Length: 7:17
    Musicians: Tony Banks, Phil Collins, Mike Rutherford
    Played live: 1992
    Cover versions: ?



    Notes: Dreaming While You Sleep is undoubtedly one of many fans' favourites from the We Can't Dance album. Once again, the drum machine carries a Genesis song, but the clever and rather undulating dramaturgy distinguishes this piece from Duchess, for example. The interplay of guitar and keyboards and later real drums here is a prime example of how the trio phase works.

    cheers

    Christian


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  • I really thought this track came to life on the tour. They played it in London at Earls Court concert and it was a real highlight. The lights were brilliant and Phil sang it with real passion. It blew me away while the album version is good but nowhere near as special.

  • I've heard this song spoken of as being one of the highlights of WE CAN'T DANCE, but I've never rated it that highly. It's hard to say just why it doesn't really impress me, though.

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  • 14. An early favorite of mine starting out as a fan when WCD came out. I loved the brooding verses and passionate chorus, and the dynamic between them. Also the sense of anguish they generate in the outro. And although I never saw the tour live, I agree with the comments that it was even better in that setting with Chester's drumming and Phil's vocals performance, and the video/lights. The ending was very good live too. Great stuff all round.

  • Average, sort of later period Genesis-by-numbers track. Bit of drum machine,

    Rutherford’s guitar sounding a bit Daryl-like at times and a chorus you can imagine emerging from a jam. It does build an atmosphere and worked better live but not one I listen too much.

  • As most have said the live version from Earls Court is fantastic. I wonder if Phil had stayed and they had done a couple of more albums whether this would have become a staple of their live sets as they seemed very committed to it in that performance.

  • As most have said the live version from Earls Court is fantastic.

    It brings an atmosphere to it that isn't there on the studio version, a sort of slightly frosty nocturnal spookiness.


    BUT... in both versions I have a problem with the keyboard line that follows the title phrase in the chorus. It sounds so naff and hackneyed, a bit less so on the live one.

    Abandon all reason

  • There's been reference to the visuals in the live version. As with most of that show, the lights are terrific - I was amazed this band so renowned for its complex lighting rigs would remove it completely and still present such a great light show. (I've since seen, for instance, Goldfrapp do two tours with no overhead rig but side and rear lighting only and they made it work really well too).


    But the screen graphics during this one were a bit crap and studenty looking, that jerky animation - dah.

    Abandon all reason

  • I've only heard this a couple of times so just played it again. It's repetitive and I was bored of it by the end. When this came out, all their best work was far behind.

  • For me, it's a standout track of their later period and a highlight on We Can't Dance. I always prefer to play this really loud. A wonderful track.

    cheers

    Christian


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  • Seems to be a lot of love for this song. Which is interesting, as I'm not really a fan. I think I gave it a 6.


    It's ok. But there's a reasonable chance I will skip it when it comes on. I'm not entirely sure why. It doesn't seem to go anywhere.


    If I was too sum it up unkindly (and I will!), I'd say it's late era noodling, mixed in with a bit of late era bombast.

  • It brings an atmosphere to it that isn't there on the studio version, a sort of slightly frosty nocturnal spookiness.


    BUT... in both versions I have a problem with the keyboard line that follows the title phrase in the chorus. It sounds so naff and hackneyed, a bit less so on the live one.

    It's so strange how people see things. I know exactly what you mean about that keyboard phrase being hackneyed... I think it adds to the song's drama.

  • I find this song goes on too long specially as it's a 7 minute track. Both the tempo and Phil's singings gets quite annoying after 4 minutes. I can only rate this satisfactory as it does have it's moments. This should of been around 3 minutes long IMHO.

  • It's so strange how people see things. I know exactly what you mean about that keyboard phrase being hackneyed... I think it adds to the song's drama.

    I do actually get the 'dramatic' function of it but for me I think it's more the keyboard sound used that's the problem. It's almost like a sort of clownish feel suddenly intruding into a quite tense, forbidding song.

    Abandon all reason