Surprised you missed out the Cinama Show
I didn't - see disc 5.
Posts by Backdrifter
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Well, we've all done one haven't we? Mine is across 6 discs. As you can see I go for the complete mix-it-all-up approach, I can't bear chronological compilations:
Genesis 1
Do The Neurotic (edit)
Silver Rainbow
The Lamb Lies Down On Broadway
You Might Recall
It's Gonna Get Better
Alien Afternoon (intro)/The Dividing Line
Keep It Dark
Vancouver
Firth Of Fifth
Follow You Follow Me
No Son Of Mine
No Reply At All
Entangled
Pigeons
The Colony of Slippermen (intro)
Genesis 2
The Fountain Of Salmacis
Misunderstanding
On The Shoreline
In Too Deep
Naminanu
Dodo/Lurker
Submarine
Can Utility And The Coastliners
Uncertain Weather
Looking For Someone
Undertow
That's All
It
Watcher Of The Skies
Genesis 3
Cul De Sac
The Brazilian
A Trick Of The Tail
Dancing With The Moonlit Knight
The Knife
Squonk
Shipwrecked
Abacab
I Can't Dance
Paperlate
Harlequin
Home By The Sea/Second Home By The Sea
The Lamia
Genesis 4
Man Of Our Times
Throwing It All Away
There Must Be Some Other Way
Horizons
Mama
After The Ordeal
Supper's Ready
Blood On The Rooftops
Congo
Ripples
In The Cage
Genesis 5
Happy The Man
Back In NYC
Me & Sarah Jane
More Fool Me
Domino
Silent Sorrow In Empty Boats
The Cinema Show
Hold On My Heart
Behind The Lines
Duchess
Guide Vocal
Duke's Travels
Duke's End
Lilywhite Lilith
The Waiting Room
Genesis 6
Tonight Tonight Tonight
Riding The Scree
Inside & Out
Many Too Many
The Musical Box
Down & Out
It's Yourself (part 1)
Los Endos
Fading Lights
Turn It On Again
Invisible Touch
Afterglow
The Carpet Crawlers
I Know What I Like
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I've said this before, but Looking for Someone always stands out for me.
Lyrically it reminds me strongly of Peter Gabriel's solo work - an introspective, personal song without characters, which doesn't tell a story, is not fantastical, and is in the first person. I can't think of another Gabriel-era Genesis song quite like it. Musically as well, it really stands out for me. Obviously the instrumentation means it fits in with the early Genesis sound, but the composition... I don't know, it makes me think more of some of the other early prog bands that were around at the same time - like Rare Bird, or something. Weirdly enough, it also reminds me of some of Tony Banks' solo work - not sure why that is. But it just doesn't sound like Genesis to me!
Good call. I was on the verge of namechecking LFS in my reply, a lot of what you say rings true for me. I find it one of their most fascinating lyrics, in just that way alone it's very unlike any of their other work. I like the way it conveys a general, unspecific sense of a frustrated person who doesn't seem to know where they're going and this manifests as their irritation at what and who they see around them.
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On the old forum, under my avatar, it read "I'm an all era's fan. Of Steve Hackett!" (I'm not using it now as his last 2 album's have been a bit "below par") So as you might guess, I disagree completely, the Hackett era is my favourite era of Genesis. Gotta say, your "attitude" over the last few days on here has not endeared you to me, your avatar seems to fit you pretty well. Since you seem to think you have a monopoly on being right, might I suggest a listen to Billy Joel's "Shades of Grey" And perhaps a little thought for others opinions before hitting the "send" button?
This is essentially a response to both those posts, the above and Still Can't Dance's.
While I have no problem with the phrase "the Hackett era", as I know what people mean by it, I do think there are elements of what SCD said that ring true. Collins and Banks have said in interviews that SH seemed to stay on the margins during his time in the band, and that he felt like a "temporary member". Famously of course, when SH left, PC said he was completely neutral about it and perhaps that lack of feeling reflects those sentiments about SH being a kind of visitor to the band. Don't get me wrong though - I am in no way underestimating his contribution. I believe his solo at the end of Salmacis was the start of a new sound, his blending of his guitar sound with the keyboards, the brilliant economy of his work, his songwriting, all this and more makes him absolutely integral to their evolution.
I don't blame him for saying "this could be start of my solo career whether I like it or not" as it was in context of PG leaving and most outside the band reacted like it was Genesis's death knell. It seems reasonable to me he'd have those thoughts and maybe getting the album out before the next Genesis album was an insurance policy should the post-PG band not work out.
I take issue with SCD's comment that PG then TB were the main writers. I stand to be corrected, but I'm not sure that's right. It seemed to me writing was spread between TB, PG, MR and earlier, AP. Some key sequences were triggered by Banks-Collins-Rutherford jams e.g. Apocalypse and Cinema Show. (With those three working together in that way, and PG often doing his usual slow lyric-writing job, it mustn't have been surprising that SH was often on the margins). I also get the impression that despite their "All songs by all" credits on those PG albums, there was an increasing influence by Banks.
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If Ned Sylvan is singing for elephants then it's a cruel irony for the poor creature that its ears are so big.
I was going to 'like' this, but don't really like 'likes', and anyway I wanted to actually say it made me laugh out loud. Plus I just noticed you've changed him to 'Ned' which is also vaguely amusing.
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Earl's Court, June 1977. Spent the night on the pavement outside to get front row tickets when the box office opened. Sat right in front of Steve.
Can you recall what the queue was like? A long one, what time you arrived, good camaraderie, get much or any sleep? Good going by the way, great seat.
I did the overnight-queue-for-tickets for the London Lyceum gig May 1980 - a rare occurrence of them going on sale only about 4 or 5 days before the gig. Any time I walk down Tavistock Road, I always glance at the spot where I 'slept'.
The last time I queued for ticket sales was 2000, for the Radiohead gig that was in Scott Walker's Meltdown Festival. Since then it's been F5 all the way.
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3, 4 & Up, with an honourable mention for 2 and the soundtracks.
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Can't find the ticket stub for this one, but it would have been 4th or 5th July 1980 at the Hammersmith Odeon
Same here, one of those, I'm pretty sure the 4th. Do you remember the unfunny comedian support act with a ferret glove puppet? All I can recall is the puppet 'saying' "Shut up or I'll nibble your bollocks off." He then briefly came on during SH's set as well.
Between March and July I saw Genesis twice, plus PG and SH. I would then see PG and Genesis very close together in 87 and 07 as well.
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That's All has a country groove? What an interesting comment. I see what you mean, but they wrote it to sound like early Beatles, with Phil saying he wanted to write a Ringo drum part.
On the Mama Tour video, if I remember correctly, PC jokingly (and in a terrible accent) introduces it as a "country & western song".
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I went to the W&W anniversary show in London last year and was underwhelmed. That was the latest in a number of Genesis-heavy tours I've seen him on, and I've decided to give it a rest now so haven't booked for this year (and was also put off by the idea of the orchestra). I also really don't like Nad Sylvan. I'd really like to see SH return to solo material sets now. Preferably ones that don't include Hierophant!
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Coming on 16th for a week. As an extended family (8 of us) we have been coming to Nairn I would guess 15 times in the last 20 years. Started on the caravan site but now we rent a large house just two minutes away from the beach. So looking forward to it
That massive caravan site! It's huge. (If it's the one I think you mean).
Further along, in the little park there's a small cafe that does excellent home-made ice-cream.
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I'm going in the opposite direction. Week planned in June at Nairn with extended family. Will no doubt visit Inverness while we are there
I like Nairn a lot, I hope to get back over there one weekend soon.
It'd be a coincidence if your week in June was the one commencing the 4th, as that's my first Edinburgh trip of this year. The final one will be in November to see King Crimson.
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Someone else living in Scotland on here - that is good!
Edinburgh, very nice, I love that city. I have three visits planned this year, including a week at the Fringe.
I'm in Inverness.
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From London England, living in Scotland (but still visiting London for work).
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All I see is a black screen...
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I suppose The Waiting Room is the obvious choice, the only example in their career of a free-form jam. In a way, it's their Revolution 9. I love the second half, it's one of my favourite pieces of Genesis music. I always liked the rare occasions when they got a bit dirtier and edgy. If part 2 of TWR is at the end of the Genesis spectrum I most like, the opposite end has the stuff I really dislike - the shiny, twee, fluffy stuff like RA&B, Mouse's, Snowbound, Scenes.
Who Dunnit, while not a favourite of mine (although I don't mind it), was kind of a clever move by them. Abacab is generally a very conscious step away from their (and the fans') "safe" zone, and that track sums up that move. I did read Banks saying they knew it would annoy the hell out of lots of fans, which is why they did it. I like that approach.
In some ways I think Happy The Man is an unusual one in that it doesn't feature much (or any?) keyboard and lacks those trademark chords. Harlequin is similar.
More Fool Me does stand out, being a quite soulful and melancholy guitar-and-vocal duo, something they only did that once, I think. I like it a lot and it shows how varied their work is. Side 1 of SEBTP remains for me probably their finest bit of track sequencing in any album.
Oh and of course, Horizons is pretty unusual.
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London Hammersmith Odeon, March 1980. Later that tour I also saw them at the famous London Lyceum Ballroom gig, the one filmed by the BBC.
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The Lamb
Abacab
=Duke/Selling England
