Posts by Backdrifter

    I heard this song on the radio that I found equal parts catchy and annoying.


    There is a little bridge with the woman singing that I like a lot but I'm not sure that 15 second stretch compensates for the rest of the song.


    "Joyride (I saw the Film)" by Tribe

    It starts kind of promising but for me is torpedoed by those annoying/comical bits with the mens' voices. Her voice quickly becomes a bit tedious. I'm happy to say I won't be sharing the earworm burden with you. But there are hints of 'they/this could potentially be sort of quite good". Is that praise faint enough?!


    I feel like I vaguely recall the name Tribe.

    homemade wild garlic pesto

    What else do you put in?


    We have a footpath near us, following an old railway line. Parts of it are lined with wild garlic plants. I did some cooking using the leaves which were delicious but I realised it was making me feel ill so I stopped using them, sadly. I do love wild garlic bulbs (I have no problem with those).


    Today for lunch I repeated my salt beef sandwich as above but with the addition of sliced gherkin and I tossed the beef slices in the mustard sweetened with a little agave syrup.

    My understanding is that "Submarine" was the song that was missing its original ending on ARCHIVE 2 due to tape damage, although they apparently found a way to resolve this in time to feature the proper version on the 1976-1982 box set.


    As for "It's Yourself," my understanding is that the band simply didn't like the original ending, and thus indeed "consciously took the stupid decision to fade it." Assuming that's true, feel free to be irritated with them!

    Right yes of course, I forgot Submarine originally had a better ending. I've evidently mixed those two songs up.


    Now as you say I have licence to feel irritated at their silly amendment to the IY ending. Daaaaah!

    The TOTW thread on CAS title track led to this exchange on the increasing tendency of Genesis songs to fade out rather than have 'proper' endings. I thought I'd avoid derailing that thread and continue the topic here.


    Schrottrocker is right, up to and including Duke less than half their songs faded out. Early on, when they did fade it was sometimes as an 'outro', eg Harold, Moonlit Knight, Firth, Counting Out Time, Mouse's, or as a bookend eg IKWIL - unusual in fading both in and out on the same drone. On the Lamb there are a few cross-fades as well as the direct segues that all serve the ongoing story aspect.


    It's a shame that such a creative band came to rely almost wholly on a formulaic song ending style. They seemed to lose that sense of using fadeouts sparingly in a way that served the song constructively, as in some of the above examples. It coincides with setting up The Farm and making songs via studio jams. Could that be a reason for it, beyond mere correlation?


    The Beatles rarely used fadeouts, and certainly on their early albums - while still a touring band - they wrote partly with stage performance in mind, wanting to ensure songs had proper endings that could be played live. Presumably Genesis, who as we all know could be ruthlessly unsentimental about their material when it came to live shows, created the songs in the studio and therefore thought of them purely as studio entities to be adapted as needed if played live. It would explain the often peremptory "this'll do" BRRRRM-TSSSHHH approach to song endings on stage - the worst of which for me being the appalling clod-hopping hamfisted ending to Duchess on the final tour.


    Here's Paperlate in its complete original studio version (ie no fade-out), which I like a lot. Do we know if there are any other similar 'complete'/non-fade-out versions of their songs out there?


    And here's the far superior original It's Yourself with its MMM opening-like ending. I think someone on here said the reason it fades on Archive 2 is in the intervening years that bit of master tape had corrupted. I hope that's the reason as it's too irritating to think they consciously took the stupid decision to fade it.

    Farewell to musicians Karl Wallinger originally of The Waterboys then his own band World Party, and Eric Carmen initially of The Raspberries then later a solo artist (he had a big hit with All By Myself).

    ...and speaking of sandwiches I just made a delicious one for lunch: a softie (scottish white roll with slightly sweet taste) filled with salt beef, cream cheese, sauerkraut and english mustard. Man it was goooooooood.

    A comment seen on twitter: at a certain age, you will have had the best sandwich of your life. Every sandwich after that will be a futile attempt to recapture that fleeting bliss.


    One reply reckoned this was essentially something Kierkegaard postulated about it being one of the deepest flaws of the human condition (he was a cheery soul).


    If it's true, mine would probably be on a lovely sunny day in 2000, sat on rocks in Cadgwith Bay in Cornwall, water gently lapping, while I ate a sandwich of (locally caught that morning) rich fresh crab meat between two slices of cheap sliced supermarket bread.


    But even then, I've had very nice sandwiches since.

    In the last month I've been to see (and enjoyed all these in their very different ways):


    The End We Start From: A couple are forced from their London home when relentless rain causes floods. The wife is pregnant and gives birth in a struggling besieged hospital and they manage to get to the husband's parents house in an unflooded area as society starts to break down around them. It's kind of an enactment of that notion that we are only three missed meals away from anarchy. There's a scene involving a character played by Mark Strong that is horrifying and has haunted me since. It's not graphic and we don't see anything as such but it's implied which makes it even more upsetting. The film is grim, but actually does have uplifting moments and some superb acting.


    Argylle: really daft espionage adventure, cartoonish and very entertaining. I'll watch pretty much anything with either Sam Rockwell or Bryce Dallas Howard in, and they're both in this.


    The Zone Of Interest: this is quite simply a depiction of a day-to-day family life. That's it... except the family happens to be that of the commandant of the Auschwitz death camp, and their house borders the camp, separated only by a high wall. We only see the family's life, we don't see anything of the camp. But as they play in the lovely sunny garden with their kids, splashing in the pool, eating dinner and settling into bed at night, we hear things off-screen, distant and muffled. It's one of the most chillingly disturbing films I've ever seen.


    Wicked Little Letters: in a quaint post-WWI english village, a very straitlaced religious woman is receiving letters full of threats and insults in vicious swearing language. She and her parents suspect the uncouth young woman next door, who denies it's her. We gradually begin to find out more about what's going on and who is sending the letters. It's played as a comedy-drama and is also quite touching at times. Timothy Spall is brilliantly horrible as the bitter snarling father of the recipient.

    I think it's the fact that it's Phil Collins, not Genesis, it sold gazillions of copies and that it's literally one of the most recognisable and famous pop album covers of the 1980s

    I get what you're saying. But the notion that Madonna, who is very involved in her own promo imagery etc, and her team said "For this remix album let's copy that Phil Collins one from 40 years ago" is highly unlikely. It's much more likely they decided on a particular kind of image, the b&w close-up, as has been used on many covers over the years. Once they do that, the question of where to put the title leaves them with little choice, which is why it's where it is rather than a deliberate copy or pastiche. But I understand people on this board wanting to find definite connections where there aren't any.

    If Genesis and Yes can be inducted, then I don't know why Phil wouldn't be inducted.

    I do know why. It's because entry is governed by a small exclusive cabal operating under non-transparent procedures that according to disgruntled insiders seem to be based entirely on personal preferences. Based on previous such campaigns which garnered huge support but were ignored, the 'get Phil in' one will be just as unsuccessful.


    But as I said, who cares, and why? I'm kind of with Mike Nesmith of The Monkees when he said that the HoF is a private enterprise and is therefore not in any way beholden to public convention or expectation. It's up to the individuals concerned, who run this particular private enterprise, to do whatever they want with it. That's fair enough, but equally means it has no real significance despite all appearances to the contrary. I never understand why fans of 'excluded' acts get so worked up about it, or conversely bellyache about acts that are included. The attention, debate and focus on it have given it way more importance than it deserves.