TotW 09/04/2023 - 09/10/2023: GENESIS - Squonk

1st Official Post
    • Official Post

    Your rating for "Squonk" by GENESIS 29

    1. 15 points - outstanding (7) 24%
    2. 14 points - very good (9) 31%
    3. 13 points - very good - (8) 28%
    4. 12 points - good + (4) 14%
    5. 11 points - good (0) 0%
    6. 10 points - good - (1) 3%
    7. 09 points - satisfactory + (0) 0%
    8. 08 points - satisfactory (0) 0%
    9. 07 points - satisfactory - (0) 0%
    10. 06 points - sufficient + (0) 0%
    11. 05 points - sufficient (0) 0%
    12. 04 points - sufficient - (0) 0%
    13. 03 points - poor + (0) 0%
    14. 02 points - poor (0) 0%
    15. 01 point - 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 - Squonk
    Year: 1976
    Album: A Trick Of The Tail
    Working title: ?
    Credits: Banks/Rutherford
    Lyrics: Yes
    Length: 6:30
    Musicians: Tony Banks, Phil Collins, Steve Hackett, Mike Rutherford
    Played live: 1976/1977/1978/1983/1984
    Cover versions: ?

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    Notes: It was something like the starting signal of the post-Gabriel era. With Squonk, Collins took over the vocals in the studio for the first time, because he was simply better at it than all the candidates who auditioned. The song is said to have a Led Zeppelin-like "heaviness", and was played live mainly at the end of the 70s..

    An incredibly strong piece, I wish they had experimented more with the hard-edged sound of this in future songs, though I guess it is what makes Squonk such a standout track.. Love how explosive it is as an opening on Seconds Out.

    Very good indeed. I think I read somewhere this may have had a working title of Bonzo from its drumming inspiration. I think somewhere in the mix it got a little softer but you can still see what they mean. Sometimes feels a verse too long to me but there was a story to be told. Must have been a great reassurance at the time to know the vocals were in safe hands. Always liked the end bit, a lot of bands would have made a whole song out of that!

    • Official Post

    14pts from me. It was one of my favorites when I first heard it (ca 1990) and that never changed.

    Great song. Fantastic energy. A great concert opener.

    I was always intrigued by the rumours of this song being played during the IT tour. Although it's very likely somebody confused the ending of Los Endos with Squonk.

    Quote from Thelawnmower

    Very good indeed. I think I read somewhere this may have had a working title of Bonzo from its drumming inspiration.

    It is mainly from Rutherford, who wrote the "heavier" section. Even in his memoir he likened it to Kashmir.

    Great song, and even better live.


    It would have been great if they went more Zeppy with it but let’s face it, Tony was never going to sit back and do next to nothing.


    One of the songs that hooked me on the band originally.

    I really love Squonk. To me it shows a somewhat ballsier side of Genesis. The pace is slow but that somehow makes it more ominous. I like the contrast between the heavy verses and lighter, almost twee verses. The way it starts Seconds Out always struck me too, the way the crowd is just chatting idly and then these huge chords and thundering beat emerges from nowhere, as if the band crept on stage without anyone realizing it. It's a little disquieting, which I like.

    Great track, and a 14.


    I seem to be in a minority who think it doesn't work so well live. Admittedly, I never witnessed in the flesh, only SO and other recordings.


    The studio version is a bit slower and as a result has a nicer groove to it IMO. I also think the jangly guitars are more prominent on the TOTT version, and that's probably my favourite aspect of the song


    It fits perfectly on the album too.

    One of the laws of the Genesis Universe is that whenever Squonk is mentioned, there MUST and WILL be Zep/Bonham references. Despite the song's co-author making that comparison I've never really seen it, but along with a few other songs it does have a very singular quality in that no other songs sound quite like it (Duchess and NYC would be other examples). I like the overall sound, nice and big yet still with some space. I always loved the 'principal' refrain, the one under the yelled "You don't stand a cha-a-a-a-a-a-a-ance". However, the track has never made it into my personal top 10.


    I saw it on stage once during the Duke tour when it sounded better than the Seconds Out version, but then in my view everything on Seconds Out that was subsequently performed live was much improved. On the subject of which:

    Quote from thewatcher

    The way it starts Seconds Out always struck me too, the way the crowd is just chatting idly and then these huge chords and thundering beat emerges from nowhere, as if the band crept on stage without anyone realizing it.

    I've never liked that opening with the song preceded by a buzz of conversation (ditto the opening of Pepper), to me it sounds daft plus the rendition of Squonk is inferior to the original.

    Abandon all reason

    I love the live version on Seconds Out, particularly the intro with the quiet hi-hat counting in and the surprised cheers of the audience when the band kicks in. I can almost see the dark stage, then all lights switched on. Great opener.


    I honestly wouldn't have made the connection to Kashmir either but once Mike mentioned it it makes so much sense. Both songs share that same heavy groove. Mike came back on that slow rocky groove in his song Moonshine on Smallcreep's Day and later in Word of Mouth, and I can imagine his initial idea for Turn it on again might have been similar.


    Interestingly, the band always mentions Squonk was the song that broke the deal for Mick Strickland. He might have been nervous but let's be honest: Squonk has a real counterintuitive melody to sing, they might have picked something else. Phil's own vocals in the studio recording seem to be a little insecure imho, in later live version he gained much more confidence.

    Quote from Schrottrocker

    I love the live version on Seconds Out, particularly the intro with the quiet hi-hat counting in and the surprised cheers of the audience when the band kicks in.

    I love that SO intro as well. Call me pedantic, but I reckon it's 3 stick-to-sticks (is that a thing?:/), one hi-hat and then they're in big time! 8)

    Their finest moment? I wouldn't argue with anyone who said so. I've not heard a better live version, but then I don't chase live versions of anything. That said, nothing on SO is better than studio, for it's a very poor attempt at a live album, the band were good, but someone in the recording process sucked all the life out of it.


    15/15

    Ian


    Putting the old-fashioned Staffordshire plate in the dishwasher!

    Like 1
    Quote from foxfeeder

    Their finest moment? I wouldn't argue with anyone who said so. I've not heard a better live version, but then I don't chase live versions of anything. That said, nothing on SO is better than studio, for it's a very poor attempt at a live album, the band were good, but someone in the recording process sucked all the life out of it.


    15/15


    Well I think that's a bit harsh on SO, but I certainly agree with it about Side 1, and the version of The Lamb.


    I think all of side 1 is inferior to the studio versions.

    A great track that is well-known, as others have mentioned, for the Zeppelin-esque drum sound and the track that got Phil the singing gig.


    It was played on Steve's recent tour but Nad's vocals really paled in comparison to Phil's and the rendition really suffered for it.

    I do wish it was revisited on the Last Domino tour but I think it was never considered due to the fantasy lyrics.


    Agree that Seconds Out sounds a bit light and muddy in places. It has my favourite version of Carpet Crawlers on there though.

    Quote from Mozo

    Well I think that's a bit harsh on SO, but I certainly agree with it about Side 1, and the version of The Lamb.


    I think all of side 1 is inferior to the studio versions.

    Fascinating how different fans' perspectives can be. I always found all of side 1 of SO superior to the studio versions, the only thing missing the additional synth lines in Robbery. Also I prefer the version of The Lamb a hell of a lot to its studio version.