Things you've only recently noticed

Visions of Angels is actually quite obvious, Tony plays the opening piano riff on the synth. Recalling from memory, I think it is right after the Stagnation quote.

Quote from Dr. John

You're welcome. And all of Blood On the Rooftops gives me goosebumps - Steve's nylon stringed guitar, Tony's shimmering mellotron and haunting lead lines...

In my top 10 Genesis tracks. Everything you said - that keyboard line after "Won't you stay" with the bass pedal under it, the distant ethereal feel of it, is one of my single most favourite moments in all their work. The lyric is a rare example of them doing 'wistful' really well, with poise, subtelty and restraint, not allowing it to spill over into annoying tweeness. It also has something I often like in songs, which is a slight note of tension, especially in the 'chorus' sections.

Easily one of the very best songs they ever did. Ironically, from an album I otherwise dislike very much (apart from Afterglow).

Quote from Schrottrocker

Visions of Angels is actually quite obvious, Tony plays the opening piano riff on the synth. Recalling from memory, I think it is right after the Stagnation quote.

Yes, it is right after Stagnation. The part that is identified as a quote from Don't Let Me Be Misunderstood starts at 7:19.

I too think it is likely that there are more quotes in this jam section, but have never spent the time to go through it all to try to figure it out.

Do you want something out of nowhere ? I've just had a revelation.

A Trick Of The Tail and I'd Rather Be You are linked together.

... I told you it was out of nowhere.

How ? Same key. Pretty easy, eh ? But there's more.

Tony plays exactly - I mean exactly, shapes and all - the same chords in the chorus of A trick of the Tail and on the beginning of the main riff of I'd Rather be You.

That reminds me on how I found the In The Air Tonight riff in The Light. Listen to this part:

I've just noticed there's a reprise of Hairless Heart in The Light Dies Down On Broadway...

Quote from Duke of Earl of Mar

I've just noticed there's a reprise of Hairless Heart in The Light Dies Down On Broadway...

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Both themes are different actually. Hairless Heart's melody has a minor tone in it., whereas TLDDOB's theme is in major. Agreed, there is a loose connection, but again this is a concept album.

Yes, I forgot to say that. And the harmony behind is of course totally different, with this E pedal note throughout the end.

That's what makes it a reprise as opposed to a citation. I never noticed this before but I always wondered about that weird line Tony plays at the end of The Light Dies Down! It really makes sense now.

Not something I've really noticed, but the other day I was thinking about Phil leaving the band, only to carry on working on Genesis projects just a few years later (before the 2007 tour) and I thought, in hindsight, Tony and Mike could simply have stopped with Genesis when Phil quit and simply worked together under the Mechanics brand, leaving Genesis on a high and no doubt ready for reunions down the road.

It would perhaps made more sense had it been done this way ultimately and maybe having Wilson as a singer with the Mechanics, given him less criticism and comparison to Phil.

Quote from choccy

Not something I've really noticed, but the other day I was thinking about Phil leaving the band, only to carry on working on Genesis projects just a few years later (before the 2007 tour) and I thought, in hindsight, Tony and Mike could simply have stopped with Genesis when Phil quit and simply worked together under the Mechanics brand, leaving Genesis on a high and no doubt ready for reunions down the road.

It would perhaps made more sense had it been done this way ultimately and maybe having Wilson as a singer with the Mechanics, given him less criticism and comparison to Phil.

What?!

🤦‍♂️

Mike actually proposed to take Paul Young and Paul Carrack as new Genesis singers, which Tony opposed of because that would have become a Mechanics feat. Tony Banks project.

Quote from Schrottrocker

Mike actually proposed to take Paul Young and Paul Carrack as new Genesis singers, which Tony opposed of because that would have become a Mechanics feat. Tony Banks project.

Tony's not wrong about a Paul AND Paul situation, but I DO think Paul Carrack would have been a good choice to bring in.

Obviously that PC didn't have quite the same level of exposure as the PC he was replacing, but I think Genesis could have benefited from having a singer people would have recognized.

Quote from Schrottrocker

Mike actually proposed to take Paul Young and Paul Carrack as new Genesis singers, which Tony opposed of because that would have become a Mechanics feat. Tony Banks project.

I heard it was Carrack put himself forward and Banks vetoed, indeed on the basis of the Mechanics connection. I hadn't heard MR suggested both Pauls.

I never knew this about the mechanics singers but it's not surprising I suppose. I'll always be down on how they ended (I think they should have followed up cas) but I am glad neither mechanics singers got the gig. It would have been two of the mechanics + Tony, and given Tony's singular lack of solo success it would have been an odd set up I think.

Come to think of it, I wonder if Mike and Tony had a difference of opinion about the new singer (such as Mike wanting a Paul), and whether that played into Mike's decision not to continue when Ray and Tony would have. None of my beeswax I know but another angle to ponder.

By any means they came pretty close to include two new singers as we learn from the David Longdon interviews. He and Ray would have been both in, it was a last-second decision to go for only one singer.

A couple things I didn't notice were:

1. The background percussion in the opening of Behind the Lines and Duke's End. I first noticed it in the remixed versions. Perhaps the percussion tracks were either way softer or even muted in the original mix? Anyway I like it-it especially adds a nice sonic layer in 5.1 surround sound!

2. Background vocals in Taking it All Too Hard. Again, noticed with the remixes-not sure if they were muted before or just clearer now-but I like them. It adds texture IMO.

3. Mike has a prominent lead guitar melody in the refrain sections of Evidence of Autumn, which again are in the remixes but muted in the original.

4. Background vocals in You Might Recall. Again, noticed with the remixes, and I KNOW they were muted before, cos I have the 7" single of this song on vinyl-but I like it, It adds texture to the song IMO.

I suppose these are probably just noticeable differences due to the remixes. But They are differences that IMO enhance the songs. If they were there in the original mixes, I definitely didn't notice them before.

Quote from thewatcher

I never knew this about the mechanics singers but it's not surprising I suppose. I'll always be down on how they ended (I think they should have followed up cas) but I am glad neither mechanics singers got the gig. It would have been two of the mechanics + Tony, and given Tony's singular lack of solo success it would have been an odd set up I think.

Come to think of it, I wonder if Mike and Tony had a difference of opinion about the new singer (such as Mike wanting a Paul), and whether that played into Mike's decision not to continue when Ray and Tony would have. None of my beeswax I know but another angle to ponder.

It is funny how Originally Tony was initially wondering whether to continue Genesis after Phil Left but Mike was all for it and then it was Mike after Calling All Stations, lost the appetite for it.

I deffiently think they hurt themselves by ditching Chester and Darryl and bringing in session band members.

It became deffiently less Genesis at that point.

Not directly a Genesis item, but: I've had IS THERE ANYTHING ABOUT? by Brand X since at least the mid-'80s, and I only noticed yesterday that there is no silence between "Ipanaemia" and "A Longer April"; rather, the two tracks are connected by a short stretch of (not especially quiet) white noise. The chimes ending the first track fade out into it, and the bass line of the second track fades in from it.

I mainly missed this little detail due to only listening to the album via a so-so vinyl transfer with the track order rearranged.