Posts by Christian

    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!


    ANTHONY PHILLIPS & HARRY WILLIAMSON - The Anthem From Tarka

    Year: 1988
    Album: Tarka
    Working title: ?
    Credits: Anthony Phillips, Simon Heyworth
    Lyrics: No
    Length: 6:04
    Musicians: Anthony Phillips, National Philharmonic Orchestra, Simon Heyworth (and others)
    Played live: never
    Cover versions: ?

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    Notes: An instrumental work that has an otter as its theme can almost only come from the corner of Ant Phillips at TotW. But one thing at a time: The Brit Henry Williamson wrote the novel Tarka the Otter in 1927. The book describes the life of the otter Tarka. Although the book was not originally conceived for children, it quickly became very popular, especially with young readers. Williamson's son Harry was born in 1950 and is a guitarist, multi-instrumentalist, sound engineer and producer. He founded the music label Ottersongs in 1980, whose name was inspired by his father's work. Eight years later, Williamson teamed up with Ant Phillips to create an orchestral work, also inspired by his father's book. The album Tarka comprises the three pieces Movement I, Movement II and Movement III. Ant and Simon Heyworth also wrote the Anthem from Tarka, adapting a theme from another part of the work. The piece forms the conclusion of the album. The whole thing was released 36 years ago this year. A good reason to dedicate some time to this piece as a representative of the album at TotW!.

    14. Probably his best solo track ever. There's just something missing for 15 points - and I cannot even say what it is. Just a feeling ...

    It's a standout track. And of course it could have been a bit better with different people involved. The again, it would have been a Genesis track that would have to compete with Firth Of Fifth and others. As it stands now, it's "just" Tony's masterpiece on the last ever rock album he ever did. And that's not really common in rock music.

    So, this is the charity track. Mike plays rhythm guitar


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    We criticize CAS for the fades out but it was already the case in WCD.

    On CAS, all tracks faded out except for The Dividing Line


    We Can't Dance had some tracks that didn't face out:

    Never A Time

    Driving The Last Spike

    Living Forever


    I assume it just appeared to be inappropriate on many CAS songs as the fade outs felt a bit strange. Calling All Stations or Congo would have deserved a proper ending, for example.



    By the way - one of the reasons I like Peter's last album i/o a lot is that it doesn't really have fade outs, with one exception.

    My sense is that PG was aiming to start working on new music in Apr/May. I think it's unlikely he'll have anything complete enough to release this year, with the exception of What Lies Ahead or any other tracks that may have previously been recorded. Or he might have found a new distraction.


    I seem to be in the minority here, but I prefer new music over a tour. Seeing him live is great, but new music is something I can appreciate over and over again.

    The band had been working on at least 17 tracks. So there are 5 left overs. Plus some tracks like „Show Yourself“ he has not used for Rated PG or Flotsam and Jetsam. So I am curious how he will proceed

    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 - Calling All Stations

    Year: 1997
    Album: Calling All Stations
    Working title: Katmandu
    Credits: Banks/Rutherford
    Lyrics: Yes
    Length: 5:46
    Musicians: Tony Banks, Mike Rutherford, Ray Wilson, Nir. Z
    Played live: 1997, 1998
    Cover versions: ?

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    Notes: That was almost 28 years ago: Ray Wilson became the new Genesis singer and the sound became harsher. Calling All Stations quickly made it clear what kind of album this would be - dark, unoptimistic, heavy. The song, like most of the others, suffers from a somewhat stifling fade-out, but remains one of the better moments on Calling All Stations to this day. Ray Wilson didn't play this track during his solo shows for quite a while, but it's now a regular part of his band live shows. He said recently: I started recording with Genesis, in 1996, for what would become their final studio album, Calling All Stations. When the writing process was taking place, I was always waiting for the Mama, moment. Mama being my favourite Genesis song, at that time. For me, the song, Calling All Stations was that moment.

    Just released


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    It features new vocals by Peter Gabriel

    Earlier this year we were invited by Hans-Martin Buff into his Dolby Atmos studio in Berlin, where we had the chance to listen to the complete i/o album un full Atmos glory.


    We will also have an interview with Hans-Martin available shortly, but here is our report about the listening session first:


    Genesis News Com [it]: Peter Gabriel - "i/o" album presentation in Dolby Atmos with Hans-Martin Buff - report


    buff_ioindolbyatmos_header.jpg

    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!


    STRICTLY INC - An Island In The Darkness

    Year: 1995
    Album: Strictly Inc
    Working title: unknown
    Credits: Banks, Kershaw
    Lyrics: Yes
    Length: 17:21
    Musicians: Tony Banks, Jack Hues, Nathan East, Daryl Stuermer
    Played Live: never
    Cover versions: unknown

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    Notes: An island for fans? Tony Banks' last rock solo album in 1995 was an interesting work, but its sound alone divided opinion. But An Island In The Darkness reconciled many - because Tony remembered his history and produced perhaps the best Genesis song that he wrote - but never released with Genesis...

    I also like this new video. The style may not be everybody's taste (i.e. the quite hectic cuts), but I like this idea how they start and end the video. And it reminded me again what a great track that is. Ray himself didn't play this for quite some time (same with Congo) when he started his solo career. It's now a common track in his band setlists

    Hi, everyone! This is the first thread that I begin.

    This has been on my mind since I found it in a shop.

    The cover of Madge's last remix album Finally Enough Love is a blatant plagiarism of that of Collins' Face Value.

    Well, not sure if you can describe a portrait cover like that. Of course they are similar (close-up, no hair etc), but I assume you would find plenty of those covers in the music world.