TotW 04/17/2023 - 04/23/2023: GENESIS - Eleventh Earl Of Mar

    Quote from MoonlitKnight

    At the show I attended on the Mama tour that medley was comprised of Eleventh Earl/Squonk/Firth of Fifth. I thought the transitions worked well from each song to the next (especially Eleventh Earl to Squonk). Where things got clunky for me was they cut out of a good part of Squonk. The transitions within Squonk were more awkward than they were between songs. I have seen a clip (I believe from a show in Oakland, CA) where they added the very end of the Musical Box on after the instrumental section of Firth of Fifth. That is a bit clunky as well. I listen to it expecting Phil to sing "Now as the river dissolves," etc and instead he starts into "I've been waiting here for so long."

    Yes TMB is in the Birmingham clip posted above by Thelawnmower


    I've revived the Mama Tour thread here to continue discussing the medleys so as to not further steer this one off track.


    Regarding Mar, I agree with thewatcher that the fragment in the Birmingham video is punchier than the album version. I found that right back to the 78 tour full version too. The Mama Tour videos reiterate that they were in peak live form at that time, bringing incredible energy to the 70s material.

    Abandon all reason

    Like 1

    My favorite track on WIND other than "Blood on the Rooftops." Phil gives it a magic that I don't think any other singer could. My favorite part is the quiet "middle" section (although it actually starts well past the halfway point of the song). Some great melody lines overall (i.e., "one wave of his funny old stick") as well.


    I've heard one live version of this, from the WIND tour. The chords in the quiet section didn't sound quite right, as if they couldn't be duplicated live, and Phil had to omit all the phrases containing the title because of how they had to be overdubbed in the original.

    Little known fact: Before the crowbar was invented...


    ...crows simply drank at home.

    Edited 2 times, last by DecomposingMan ().

    I gave this a 13 (very good) rating. For me the reason it falls short of outstanding is the repeated "Daddy you promised" lyrics that just me cringe today. However, the rest of the song is outstanding for me from the awesome increasingly loud intro to the quiet calm of the "house of dreams" section in the middle of the song. My favorite version is the live version from 1978 in Chicago...

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    Quote from HomeByTheSea

    I gave this a 13 (very good) rating. For me the reason it falls short of outstanding is the repeated "Daddy you promised" lyrics that just me cringe today. However, the rest of the song is outstanding for me from the awesome increasingly loud intro to the quiet calm of the "house of dreams" section in the middle of the song. My favorite version is the live version from 1978 in Chicago...

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    I remember Tony saying he liked it better live, particularly because of Chester. Phil, in his opinion played it too "stuttery". I truly have no opinion on that.

    Quote from Fabrizio

    I remember Tony saying he liked it better live, particularly because of Chester. Phil, in his opinion played it too "stuttery". I truly have no opinion on that.

    Haha, I'd like to have seen Phil's reaction to that.


    I mostly think it's better live because of the mix/production, but probably the playing itself contributes. Can't say I specifically noticed the drums being different but now I'm going to pay attention.

    Quote from HomeByTheSea

    I gave this a 13 (very good) rating. For me the reason it falls short of outstanding is the repeated "Daddy you promised" lyrics that just me cringe today. However, the rest of the song is outstanding for me from the awesome increasingly loud intro to the quiet calm of the "house of dreams" section in the middle of the song. My favorite version is the live version from 1978 in Chicago...

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    In the live versions I've always quite liked the use of the mellotron in the middle of the song, just after the "Features are burning on" line. Also, I love the heavy symphonic sound they play live at the end.

    Quote from thewatcher

    Haha, I'd like to have seen Phil's reaction to that.

    I don't think Phil particularly cares or resents that, provided he read it or heard it. Tony has always been very outspoken. it's just his style, he doesn't make it personal he just speaks his mind. Personally, I prefer the studio version, all the arrangements on W&W are very layered with a lot of textures and I find they don't translate very well live.