Posts by Backdrifter

    I've never been to Western Australia or Tasmania! Does that count?

    Hmmm... not sure. We can probably all say there are parts of our homelands we've never visited. I'm from London but despite being born and raised there and living there for several decades bar a couple of years, there are some of the 32 boroughs I never visited. Very possibly never will. I never did any of the tourist stuff, which I suppose is probably not unusual for anyone living near tourist attractions. In the case of Madam Tussauds the reason I've never visited it, despite it being within very easy reach for many years, isn't so much "would you believe I've never seen it?!" but more a case of total lack of interest. The appeal of paying a ludicrous entrance fee to see facsimiles of celebrities completely escapes me. I mean... WHY??? Can anyone explain it?!


    I've lived in Scotland for nearly 7 years now and even before that I spent a lot of time visiting it, but have still never been to Mull of Kintyre.


    Taking that Beatles-related cue, there are many Beatles solo albums I've never heard.

    Where is this section in the original track (i.e., from X:XX to X:XX)?

    About 08:10 - 08:50. I always assumed it was cut out simply because they didn't want to over-extend the medley, but perhaps in looking where to shorten it they removed that bit for the reason Dr. John suggested.


    I'm curious why you like the octave down version.

    I'm not sure I can explain why. As soon as that bit started when I was at the Manchester 07 show, I was very struck by it and immediately liked it. I can say I don't really get that sense of the higher version having that 'soaring' feeling you referred to. Either way it's a strong line that for some reason sits better with me in the lower octave.

    Can't stand the stuff myself. I mean, I get the appeal when everything is quiet and pristine and pretty but that wears off after two minutes.

    I second that after the morning I spent today shovelling the white crap off our path, patio and guttering (it was quite a workout). It's more than a foot deep, which I'm sure will be sneered at as a piddling amount by some here but for this region it's way more than we're used to despite the assumption of many that the Scottish Highlands must surely be Snow Central - really bad weather tends to hit hardest west and especially south of here.


    We're now well into the filthy slush/compacted slippery phase you mentioned.


    Re skiing, as this snow is the powdery variety they must be doing cartwheels of joyful thanks at the Aviemore ski resort where they've had a tough few years of depleted snowfall. Happy to say I don't tend to encounter the ski bores you refer to.

    What, pray tell, is glib? Your description has me imagining all different sorts of things!

    Sorry, I was being silly in an attempt at humour. Glib is the act of being smooth-talkingly insincere. It came up in a whatsapp chat with a friend who accused me of being glib. While it's a quite negative thing to be called I was amused and didn't mind the comment. Then I imagined having a big load of glib to hand and decided if it were a physical thing it'd be shiny greasy puddingy stuff in a tub.


    There's a glimpse into how my mind works that no-one wanted.

    It's not a problem of not playing the new material live. It's mostly that the songs are poorly produced with - more often than not - lousy arrangements.

    Agreed re the songs, but FeelItComing raises an important point about the overheated bombast surrounding the new albums being followed by no meaningful attempt to take them on the road.


    I get it, I get it. He is focused on touring Genesis material, with some classic solo stuff bolted on, that's his thing, it's what fans want. Who would actually want to hear a show built around Nightwhale and the previous couple of albums?


    I think the point being made is that it's a pity for a musician to make new material then not give it any space on tour because they're focused on playing stuff from 40+ years ago.

    Can you tell I listen to this song a bit too much?

    Nah, probably most of us here have listened to these songs for decades and have a molecular knowledge of them!


    I'm one of the (I assume) few who like the pitched-down keyboard line on the last two tours. But yes the loss of a decent choir sound has taken something away from that great transition into the repeated segment. I love how the choir 'recedes' after that bit in the original and the 76. I liked the reintroduction in 07 of the choir build-up in the passage immediately after the Scree snippet, mirroring the original. And yeah the Scree quote itself (which did indeed first appear in 78) is nice.


    The other subtle features in the original you refer to are great touches and well described.

    Having a spare half hour on this very cold dark snowy Highland afternoon, I had a look through the Track Of The Week entries and determined the following stats.


    Barring the current TOTW (Cinema Show) there seem to be 100 live entries, despite a post elsewhere listing 119 tracks so I presume some tracks have been removed?


    The split of tracks among the 100 is:


    43 Genesis

    15 PG

    11 PC

    8 SH

    6 TB

    6 MR

    4 RW

    4 AP

    2 Brand X

    1 Sound Of Contact


    Going on the simple basis of number of posts per track thread, the top 10 most discussed tracks are:


    1 Squonk (over 60 posts across 2 separate threads)

    2 Congo

    3 Hogweed

    =4 Duchess

    =4 A Place Called Freedom

    5 Paperlate

    6 Blood On The Rooftops

    7 Mama

    =8 Moonlit Knight

    =8 Eleventh Earl

    =8 No Son

    =8 Tonight


    Other than Squonk the only track to exceed 40 posts in a single thread was Congo. Congratulations (?!) to Hackett for being the only one to have one of the most discussed tracks outside of the band.


    The least discussed tracks, each with fewer than 5 posts were:


    Not Coming Down

    The Court

    Hierophant

    We Fly So Close

    The Letter

    Nightmare

    Constantly Reminded

    (the last two each have just 2 replies)


    If you got this far, thanks for reading my completely pointless exercise.

    I've come into Inverness city centre for a dental appointment. But a quirk of the bus times meant I had to arrive about an hour early. As it's about -4C I wanted to sit somewhere indoors for a while. The only place open was the victorian indoor market where although none of the shops and restaurants were open the main doors were, so I've had the odd experience of sitting at a table in the otherwise deserted food hall, surrounded by darkened silent shops and cafés, with terrible music playing over the PA. Just for me.


    The staff at the Bad Girl Bakery Café are just opening up now though so my solitude is at an end.

    I'm not sure if the 'played live' entries above are correct. 78 and 81 are missing, and 80/86/87 (and 77?) shouldn't be included. I think 78 was the final tour on which the whole song was played.


    On the original I've always loved the first section and not been wholly convinced by the instrumental. Live, the instrumental really took off. Even though they ditched the vocal parts, the instrumental bits always made sense in the various medleys and were an exciting moment.

    Not odd at all. As you rightly said, it's a very 'even' album, a rare one where all the tracks are strong. Even if that weren't the case, you like what you like so who's to say your choices are odd. I like seeing less "obvious" tracks getting some love.