It's understandable that on a board for Genesis fans there'll be a tendency to think of the world revolving around the band, but that is what is behind the belief that the Madonna cover must surely be a conscious pastiche of FV. There have been many such close-up b&w cover shots before and since FV. The handwritten title isn't enough to propel it into definitely being some sort of deliberate copy.
Posts by Backdrifter
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Probably making a lot of money In the process
No, in fact probably not.
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Ultimately, who cares? It doesn't mean anything.
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Their faces were posing defiantly.
Except they're not.
You really believe FV was the first album cover to feature this sort of image so everything else is a copy of it. It wasn't.
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In the same way that Philip Collins Ltd could sue Madge.
No, it really, really couldn't, but more to the point they quite rightly simply wouldn't be bothered.
There's a very simple underlying point you're failing to grasp here. Album portraiture frequently features the same tropes, partly because when it's decided to feature the artist's face there's immediately limited scope with what they can do with it unless they go down the route of, for example, the first three PG albums. As a result, the kinds of imagery you're getting all excited about - such as with the Byrne one, and the others where you've convinced yourself you've uncovered some sort of global Face Value plagiarism conspiracy - have existed before and since FV.
However, do please continue on your little crusade as it's quite funny.
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There has been other threads on covers and artworks. So, I don't see how it's ludicrous.
It is pretty daft to base it on what you started saying very dogmatically is "blatant plagiarism" which you've now amended to "clear pastiche" (it's neither).
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I also want the other members of the forum to upload album covers that are based on/copied from the artwork from any album by Genesis or Genesis-related artists.
I confess I am now at least getting a good laugh out of this ludicrous thread!
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I'm with DecomposingMan on this one.
Me too, and with your view that it lacks something. Everything about this track is overstretched for no apparent reason other than seemingly satisfying the urge to have a long-form piece. But it ends up feeling like several songs' worth of puffery with no tangible core. I find it a struggle to get through.
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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.
Exactly right, the monochrome close-up face portrait has been used many times for album covers. Regardless of the handwriting, specifically calling the Madonna one "blatant plagiarism" is absurd and could even be potentially actionable if anyone in her organisation saw this thread and was bothered enough to respond - admittedly all very unlikely of course, but anyway the charge is ridiculous.
P.S. Shouldn't this be under the Phil Collins section?
Or better still, the Other Bands etc or Random sections. There's an Other Acts' Album Covers thread somewhere.
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Guy Garvey played the first 4 parts of The Ninth Wave on his BBC 6Music show earlier. Until he cut it off at that point I was becoming convinced he was going to play the whole thing.
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As a music act this fellow is certainly, er, new to me. From 1986, here's Anthony Hopkins with Distant Star.
I wonder if he did any other songs after this, maybe even an album. What became of him?
EDIT: In case you're now desperate to hear the b-side of this single that reached number 75 in the UK chart, here it is: Ordinary Man. Quite a startling change of style, I think you'll agree.
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my position on the LAMB story -- to modify and re-purpose a description that's been used for something totally unrelated -- is that it "neither invites nor rewards close examination."
I think I'm with you on that. It's my favourite Genesis album and in my all-time top 10, but I love it as a whole without bothering myself with the ins and outs of the actual story. Some board members have said they find it impossible to separate the story from the album as a complete work, and therefore because they have issues with the story they consequently have a problem with the album. I'm just glad I can divorce the brilliant songs from the story structure and still enjoy it.
QuoteThat's stolen from what one writer said about The Beatles' "Revolution 9": "it's a track that neither invites nor rewards close attention." BTW, I disagree with that particular position.)
To be picked up if necessary in the Beatles thread, but I'll just say here that I agree.
EDIT ...with you, I mean!
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An estimated 3 tons of human excrement has accumulated on the routes to the summit of Everest. Because of the freezing conditions it doesn't degrade. A new scheme is being introduced; climbers will now have to bag their own shit and take it back down where it'll be INSPECTED.
Just FYI, in case you're planning an ascent (though also bear in mind you'll have to pick your way through 3 tons worth of everyone else's long-frozen faeces).
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I'm never one for deeply analysing song lyrics, and haven't ever joined in on the picking-over of the Lamb story and what it all means etc. But... as we're on this one I'm curious about whether anyone's got any thoughts on the significance of the "two golden globes". I wondered if they're linked to the testicular stuff a few songs later as they're essentially a pair of balls. He and John have to get 'docked' to help get them out of their situation so maybe it's a call-forward to pairs of balls causing trouble of some kind. Otherwise their sole purpose is to float in and blow up, leaving him amid rubble assuming he's dying. Could they symbolise explosive bollocks?
EDIT - oh no hang on, it's their cocks that get lopped off isn't it - "dock the dick". But it's all in the same region.
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100%. Just look to their solo material for proof. If they were constrained within Genesis to be "poppy" because of Phil then their solo albums would have been an obvious outlet for something more adventurous, but it's not there.
Indeed, plus regarding inclusion of old stuff in the set I read a while ago that while planning the WCD tour PC suggested they do the whole Supper's Ready but it was vetoed mainly by Banks, who said "it's such a slog to get through".
PC always spoke warmly of the fun they - well, he - had doing The Waiting Room live. I bet he'd had loved them to throw that in occasionally and have a real blow. I'd have loved it too. Given how brilliantly they did the 70s stuff as time went on, imagine the 80s/90s Genesis letting rip like that.
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Do you have any of those artists whose work you always like when you hear it, yet you never investigate them any further let alone buy any of their stuff? For me, Ride are an example of that. Today I heard Peace Sign on the radio, I think it's a new one. And as usual I thought, oh I like this, who is it? Ahhhhh, Ride, of course... Leading no doubt to my not doing anything about it until I hear another one I like and think the exact same thing.
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Continuing my regular "just heard this on 6music today" series.
SOME by JJUUJJUU ft Boogarins. Rhythmic yet trippy.
This one I heard in a shop on Great Western Road in Glasgow: Talk Talk by Cannons. The woman at the till switched it to something else about 30 seconds in and I blurted out a reflex "Ohhhh, I was enjoying that!" She kindly put it back on and told me who it was. (Then switched it back again as soon as I left).
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Just attempted it myself and got the same score but two different incorrect answers.
I got 11 but a different wrong answer than the contestant; I couldn't remember the Harold one.
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My guess on the first one is that it was a proposed backing vocal part that was ultimately decided against, and it either didn't get mixed all the way out or it bled through to another track. The other one sounds like a background thing that was accidentally recorded but either wasn't noticed or was considered too minor to worry about.
I reckon those are fair guesses. Whatever the reason for it, I like it. It has a nice cadence and adds a tiny touch of mystery.
I first listened to the album in the late 1970s, in my bedroom, playing my brother's vinyl copy (that I think had 'Carpet Crawl' listed on the back). The apparent ah after 'tunnel' threw me the first 2 or 3 times as it sounded like my mum calling from downstairs, causing me to go out onto the landing and call down to ask what she wanted. She wasn't even there.
End of pointless Memory Hole diversion.
