Posts by Backdrifter

    The Charlatans, tonight at Aberdeen Music Hall. Just waiting for the train from Inverness, building a 2-day trip around the gig.

    Over about 20 years I've been trying to see them but there's always been something preventing me - I'd be already booked into something else or it coincided with my being away. I was scheduled to see this Aberdeen show last December but it got postponed due to the inevitable covid. Of course.

    When I got news we were about to complete on the sale of our London flat I thought, this is going to clash with the gig isn't it! But luckily the sale completes next week. Phew!

    That said I'm still not going to believe I'm finally seeing them until they actually walk out on stage and start playing...

    I've just given it a spin. It was Par Avion I was thinking of, I quite like that tune.

    A call to arms... It might be another 20 years before dust it off. Starts strongly with a mildly threatening verse and good bass line, then dissolves in formless MOR for the chorus.

    That's very like the trajectory of Nobody's Perfect. Excellent fragmented intro and first verse with really nice minor-sounding build and a sort of ominous, slightly tense feel - then bursts into a bright sunny playschool swingy-armed chorus, and all the air goes out of the song.

    Sounds like a misinterpretation of a bad translation. Otherwise it's bollocks.

    I'm trying to imagine if they finished recording the last track for Genesis and knew "there, it's done".

    Most bands probably have that sort of feeling when recording. Whether it's when they've gone beyond the amount of material suitable for a single album, or have reached pretty much that point, they'll have a shared sense of when to stop.

    Also bear in mind that (as I understand it) this was the first time they arrived empty-handed, intending to create an entire album in the studio without anyone bringing in pre-written stuff. Hence, of course, the self-title - sort of a new beginning. With that sort of 'rebirth' I imagine a band could go either of two routes: experience an explosion of fruitful spontaneity and end up with truckloads of stuff, or have a period of intense activity that's very focused and produces limited but usable material. I can also surmise that in that latter situation, they might think "quit while we're ahead" - don't just plough on and end up over-cooking stuff.

    There were no studio b-sides; however, there was a lovely live version of “Firth Of Fifth” on the 12” single for “That’s All”.

    If it was from the 81 tour, which I think I recall reading it was, then yes it would be superb - their rendition of it on the Abacab tour, the last time they'd play it in full I believe, was the best it ever sounded live. Ditto Supper's Ready on the 82 tour. At that point they were absolutely incendiary on stage and it particularly elevated the 70s stuff.

    It would have been helpful if they did sleeve notes to tell us about that. It's would have made interesting reading . That, with a photo/picture of the band for the cover would have been another first and would have fitted with the theme. They could have called it something on the lines of We Are Genesis.

    Not sure how much you're joking about any of this but oooooooohhhhh no, those would've all been awful ideas. "We Are Genesis" is an amusing idea as a bit of retrospective chewing-over but oh my word if they'd actually done that at the time.... (shudders)

    Is anyone else bothered by the fade out on the chorus at the end of Silver Rainbow? To me it would have sounded better if they had transitioned back to chugging, churning music of the verses and faded out on that.

    As with quite a few of their fade-outs I do find it frustrating and do think they should've returned to the verse backing track but brought that to an ending rather than fading it.

    I apologize that truly wasn’t my intent but I can see how it came across that way. I loved every tour that I’ve seen. I was really just curious to hear peoples perspective as to why they think the band might not want to play songs from this album. I meant no offense

    Mate, no offence taken and no need to apologise but thanks anyway. I'm being moany in my own way. The final shows were an emotional experience that I really enjoyed and am coming down from, as I slowly absorb that I'll never again see this band who've played such a large part in my life.

    Meanwhile, there are all these threads full of "why didn't they play..." and "surely they could've dropped this and substituted that" which come across as so nitpicking combined with such pie-in-the-sky pontificating about songs they were obviously not going to play. I kind of get it; it's a different manifestation of the pre-tour setlist speculation which was silly but enjoyable, and maybe it's also people's way of dealing with the 'It's All Over' syndrome. But I'm finding it really tiresome so I should probably just try to ignore it, avoid it, rather than post snarky comments - thank you for at least being gracious about it, you're a bigger person than I am.

    As it happens I'd have loved them to do the title track or something else off Abacab but it was what it was.

    I think Mama on the album is just as long as it needs to be. But I agree the full-length IGGB should've been on. Lose TIATH, have it as a non-album b-side as it sounds like one anyway. Yes, yes, I know it ended up as one but you know what I mean.

    I don't agree with the concept of a guilty pleasure , you should never guilty about enjoying music, but I can't help myself having guilty pleasure over Illegal Alien. I can't away from the imagery of the video when I hear it. Everything about that song is wrong. But I like it.

    Musically it's Banksily rifftastically nice. Lyrics, accent and video are cringeworthy for me. And before the usual suspects come lumbering in with screeched accusations of hysersensitive wokery, I'm not 'offended' by IA's lyrics and video, I just find them bafflingly naff.

    On a more general note I'm 100% with you about the idea of "guilty pleasures" . It's one of those stupid media creations that people have dumbly swallowed. It irritates me when people do that silly voice and face as they say "It's my guilty pleasure". If you like something, you just bloodywell like it. You don't need to hunch your shoulders and look sheepish while you "confess" to it because a few magazines have deemed it somehow questionable, you simpering dope. Well, that's what I always say to them anyway. (I'm kidding, I don't... usually... and not in those exact words... though I often think it).

    See also previous conversation about people "confessing" to liking prog "for their sins" etc. Pillocks.

    I remember when I bought the album thinking that it looked like they had just taken plastic pieces from a child’s game and photographed them.

    They had!

    I wouldn't mind the cover if they'd removed the title, which is in a horrible font anyway, and just left the image with no text. I'd quite like that, for me just that simple change would've improved it hugely and in a way been quite bold. The use of the shapes as 'icons' for the track numbers was awful.

    But I disagree with the earlier suggestions that 'Mama' would've been a better title. It wouldn't. I get the idea of 'Genesis'. It's as though they'd now fully got into their stride as a trio, and with all songs now credited to all there's a sort of sense to the self-title.

    I agree there are aspects of "will this do?" in some ways, yes especially the lack of additional recordings. A couple of the side 2 tracks sound like they would have been b-sides in other circumstances.