Posts by Backdrifter

Quote from MoonlitKnight

True that about cutting TTT in half. Such a shame. I read an interview with Tony somewhere a while back in which he described the keyboard solo as being “deceptively difficult” (or some such language) to play.

That's interesting. I remember one of them saying they didn't like the instrumental very much, so I assumed that was behind their dropping it. I'm with the "shame they cut it" team. That section has a nice ethereal feel of a kind they didn't do much and i liked it. Then the build-up into "You keep telling me..." - great stuff, especially on stage on the IT tour.

S&V was my first time seeing him so it had the buzz of that, although in retrospect and in light of subsequent tours it lost a lot of its sheen in my memory. Also it was at Milton Keynes Bowl which didn't help, a soulless outdoor venue rather like an emptied-out reservoir or some other kind of utilitarian council site. (It's where the Six Of The Best show took place).

I recall fans were asked ahead of the tour to nominate their favourite songs to be included in the set, leading to a coordinated campaign to vote for The Laughing Gnome. Or am I imagining all that?

Either way, at the time I didn't twig it was intended as a "goodbye to the old material" show. He certainly minimised the classic stuff on subsequent tours but it crept back in. Perhaps he needed to do it as a psychological or symbolic exercise if not an actual catharsis, possibly leading to his feeling more at ease with that material. Together with his Tin Machine years and the shot of life his main output had in the 90s, maybe he'd felt a bit stale by the end of the 80s and needed a shake-up. If so, I'd say it worked.

By the way, on a tangent. I'm seeing this thread and the Moby one on the dashboard. I thought it was now given over entirely to Genesis-related threads.

Quote from thewatcher

I personally wish we could skip to the holodeck idea from star trek.

Although in a deeply bizarre bit of 24th century thinking they make it possible to disengage safety protocols and thus enable harm and death.

I wonder if the idea is that as well as abolishing money, by then they also do away with health and safety regulations?!

I suppose if nothing else it helps drive plots along.

Quote from genesis1964

Radio 2 just played Match of the Day - don't often here that on the radio.

Bloody hell! No you certainly don't. Which show?

8 Feb, Today in 1964 the Beatles spent their first full day in the US, taking a walk in Central Park, being photographed ahead of their Ed Sullivan appearance.

US fans from then still today speak warmly of how the nation was helped out of its collective gloom following the JFK assassination thanks to the Beatles.

Quote from Noni

This show does not justify being a half hour, way too short and you can tell the editing.

No, part of the reason it works so well is being restricted to 30 mins. Keeps it fresh. Any longer, it'd lose some of its spark.

Quote from thewatcher

My momma said, to get things done, you better not mess with Major Tom,

My momma said, to get things done, you'd better not mess with Major Tom.

I've always loved the muttered responses

I've never done good things (never done good things)

I've never done bad things (never done bad things)

I never did anything out of the blue... woah-woah (woah-woah)

😂

The 15yo me had a major thing about that blonde in the video

Quote from thewatcher

Really doubt there's anything to this tbh.

Or in other words: there's nothing to this.

No, absolutely no chance but no harm constructing these flights of fancy. As long as it's left to others to do!

Kidderminster 1-5 West Ham

Crystal Palace 3-0 Hartlepool

Southampton 2-1 Coventry

Everton 1-1 Brentford

Stoke 2-1 Wigan

Cambridge 1-2 Luton

Nottm Forest 2-3 Leicester

Bournemouth 4-0 Boreham Wood

For the first time in ages I had a Genesis dream last night, very much in the mould of those I've often had as I mentioned above concerning live shows and trees. Sure enough I was at a gig in what seemed to be a woodland setting, the stage set up in a clearing and ridiculously low down, more or less at ground level. It was before the show started and there were very few people around so I decided to wait right by the stage to ensure I got a decent view.

Quote from Dunia

According the the internet the name Rael is of African origin and means something along the lines of "Someone who is as innocent as a lamb." Coincidence?

I'd say, yes - coincidence. Definitely.

I kind of see what you mean, there's some similarity to this in SJ's main motif. But as I understand it the Reich was performed live in 1980 but not commercially released til 84, two years after SJ's release. Though it's of course not impossible PG saw the 1980 performance. It would have had to coincide with any US leg of his 1980 tour - offhand I can't recall the dates other that he was touring the UK in March.

EDIT: You got me thinking, I just checked dates - he started the US leg of the tour mid-June in CA, a month after the full live premier of the Reich in CA. So if PG was already there in May rehearsing, he might well have seen it.

Whatever the case and SJ's provenance, what a superb song it is. It's my usual choice if asked what my favourite PG track is. On the Still Growing Up tour it was beautiful.

Quote from drw4d

I mostly like the Rockontours podcast. I still can't tell the difference between the two, so I'll take your word that Guy is the interrupter. I do think that they've gotten a little better over time. I certainly haven't listened to them all. But I remember thinking, while listening to the Nick Mason episode, "Will the two of you stop talking, so that your guest can actually speak?!?" There's less of that as they've done more interviews though. But maybe that's why I've only listened to a few of them; their interview style doesn't really work for me, so I limit it to artists I'm already interested in.

I'm not at all familiar with Steve's solo work, so listening to them talk about Genesis, even though I've already heard almost all what was talked about before, was perfectly fine with me. But I have to think that Steve gets a little frustrated at never getting talk about his own solo career when he does these interviews.

Melody Maker Ad - check

Public School boys vs not - check

Tension during The Lamb: check

Firth Solo - check

Phil's Solo Career - check

Steve's Solo Career - <crickets>

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Yes I listen to this podcast a fair bit and I've only just about got to the stage of telling Kemp and Pratt's voices apart! Pratt's voice is a little lighter in tone - and, as established, he interrupts a lot.

I'm not sure about Hackett getting frustrated at these Genesis questions vs solo career questions. This is a guy who barely ever performs any of his new material and does regular tours based largely on Genesis material so he's kind of laid down the rails himself.

Plus, a lot of listeners will only marginally have any interest in Genesis let alone the solo work of that other guy who left them in the 70s who isn't Peter Gabriel. So the slant of the questions is understandable in that sense.

Quote from raeltheduke

If you want to hear songs like Supper's ready and others from Wind & Wuthering, go see Steve Hackett's Genesis Revisited Band, you'll be happy instead of begging for a miracle.

Indeed, or the appropriate tribute band.

Quote from foxfeeder

Awful title, great album.

Although, most of his mid to latter album titles are pretty naff.

Quote from MoonlitKnight

The only other light-related crowd reaction that ever approached that at the concerts I attended were the “glowing Phil” effect during the 666 section of Supper’s Ready and the exploding color of lights and then thousand pins of light effect during the end of SR, circa 3SL.

Again, partly testimony to their smart approach. Those set-piece 'gasp' moments were kept to a minimum. Another was the panic spread during Cage, "keep on turning". Other bands would, and since have, overused that kind of moment and go for an approach based on keeping everything dynamic as this = exciting. The Genesis approach epitomises the less-is-more notion and shows how to enhance the impact.

One of my absolute favourite varilite moments was on the IT tour in Second Home, at the point it transitions out of the mid-section and starts its return to the main theme, when every light flips downwards from the static horizontal. It's just beautiful and so well-designed. That whole track kind of pushes the dynamic varilite use furthest for that show but even then it's withheld to just the right degree.

Quote from Mozo

Somewhat disappointingly, I found Steve's interview a bit dull. Maybe I was in the wrong mood at the time.

I think I know what you mean. But for me that thing of "they're talking about Genesis, with a former member" kicked in and overrode any misgivings.

EDIT: I love the irony of Kemp twice referring to 'For Absent Minds' (and Hackett not bothering to correct him).

Quote from Witchwood

A scenario where I had just enough time to play a single song before heading out the door was something I might have regularly encountered in my youth when my music collection was on vinyl (these days, I just bring a few CDs, hop in the car and my music travels with me).

But back then, I remember often during my lunch hours, being home from school, no one else in the house and before heading back to class, wanting to blast off with one more song.

Frequently, I opted for the most convenient choice because it was on an EP and it was a song I loved for its great build-up. No need to search and carefully place the needle between the grooves. Just put on Side 2 of Spot The Pigeon and then up the volume to a level that would have outraged my parents if they were home.

You've reminded me, back in my teenage schooldays in this sort of scenario I'd put on the other "and out" - ie Down. Like you, at high volume. It excited me back then and is still a big favourite for me now. And of course was a convenient quick-play one - needle down at the start of the album, no faffing.

It would depend on the day and how I felt at the time. Moonlit Knight would be the strongest catch-all contender. Others would be NYC, Lamia, BTL and Duchess.

Unless there's an earlier film floating around somewhere the closest you'll get is the 3SL film, but it's not shot/edited very well and as a result misses some key cues. If I remember correctly that crucial first sweep of the lights in Dodo isn't captured properly other than a vague wash of the beams. I might be mistaken.

Typically they held the sweep back until then, about 4 songs in, correctly knowing it would heighten the effect. I'd heard about the lights but still wasn't prepared for how mindblowing it'd be.