Posts by raelway siding

    OK, here's a question related to opening songs: Do you prefer "Where the Sour Turns to Sweet" or "Calling All Stations"? :)

    For me, it's the first one -- best song on FGTR IMO.

    I almost didn't buy CAS because of the initial impression I had of the title track. It's one of those songs that took me a while to warm up to. (Once I heard the whole album I was glad I bought it, though.)

    I like both, but CAS is better - it's a good, dramatic, emotional song. (But it's not in the same league as e.g. Behind the Lines, Watcher, TLLDOB.) My opinions are kind of the reverse of yours - for me CAS is one of the best songs on that album, and WTSTTS is one of the weaker songs on FGTR

    Can certainly understand your disappointment. But it has to be said, there's no way in hell the record company would put this out if they didnt think there was a market for it.

    My memory of the documentary where his involvement regarding Whodunnit was mentioned is that when he heard the track, he said "that's got to be on there" or something to that effect. Ie not that it should be on instead of another track, just that it had to be on the album. I think the band were unsure. I never remember hearing anything about YMR being in the equation.

    I'm sure someone with detailed knowledge will be along to clear things up...

    That's how I remember it too. I got the impression it was just a throwaway comment - just that he liked it and thought it should be on there. Not like an order or anything. Genesis just happened to agree I guess, and/or felt that his opinion was worth respecting.

    Ahmet, the man who made Phil add drums to In the Air Tonight, to create the single version, which you NEVER hear now. Even Phil's "Hits" album uses the album version. So, perhaps his judgement was not that good, after all.

    I actually didn't know this, or had never noticed the difference. However, the single version was a massive hit all over the world and made PC a superstar, so I don't see anything wrong with his judgment there. He WAS wrong about Whodunnit though!

    Do you think so? I think it was Ahmet Ertegun who suggested not to include YMR in favor of Who Dunnit, just to give this album more edge and make it more interesting. I assume he thought the inclusion of a "safe" track instead of something controversial such as Abacab would have made this album less ... special?

    Did he actually suggest replacing YMR with Whodunnit, or was it just that he really liked Whodunnit and wanted them to put it on the album, without any particular idea of which track it would be replacing?

    It's funny that I started off being a big Genesis fan after really getting into Three Sides Live and loving the Abacab tracks on it, but then when I finally got around to getting Abacab itself it quickly became one of my least favourite Genesis albums. Looking at the tracklist I'm not even sure why. Out of all the songs I only dislike Whodunnit and Another Record and really rate everything else. I think it's probably because most other Genesis albums have a strong movement from beginning to end, and by the time you get to the last track you feel like you're coming to the end of a sort of satisfying narrative. I didn't like that there was nothing to look forward to at the end of side 2 of Abacab - just the slightly odd and boring Another Record.

    I'm convinced that if they'd swapped Another Record for You Might Recall (and maybe got rid of Whodunnit completely, or replaced it with Paperlate?) it would have had that satisfying flow from start to finish, and it would be considered one of the best Genesis albums (or at least their best pop/rock album)

    good thread - has to be TLLDOB for me. Just perfect scene-setting and their most powerful and catchy song to that point of their career.

    One which is often overlooked is Down and Out, one of their heaviest songs. Love the way it starts off as if it's going be another Earl of Mar but then hits you like Mar on steroids. It always makes me think that Rush were taking notes - the sound they perfected by the time of Moving Pictures

    I find Island quite emotional and powerful. It certainly does have a sort of meat-and-potatoes rock sound but it rises above it quite admirably in my opinion. I've never really enjoyed Another Murder that much - it just seems to hang around not doing very much while Fish strangles the life out of the lyrics. I don't mind One Man's Fool but it's not a favourite.

    Strictly Inc. is pretty good on the whole. "Charity Balls" I can really imagine Phil singing - could easily be a well-regarded late Genesis song. "Only Seventeen" is a very contemporary-sounding pop song, I'm surprised it wasn't a minor hit at least. Conversely, the album kicks off with the odd and clunky "Don't Turn Your Back On Me" and follows this with IMO one of Tony's worst ever songs, the soporific "Walls of Sound" (there's a clip of them performing it on Pebble Mill or something, and it's the dreariest thing you'll ever see). I can well imagine anyone giving the album a chance back in '95 not getting past those two tracks, and missing out on one of the highlights of Tony's career ("An Island in the Darkness")

    I have noticed this before, I just put it down to some kind of idiosyncratic decision of Gabriel. But as martinus points out, it does feel like a sort of transitional verse that doesn't really fit in either part.

    Here's something else I've wondered about - why, at the end of the lyrics is "(CONTINUED)" printed? What's continued?

    Yeah that was very interesting. Funny how when talking about the early days of Genesis it all seems quite fresh in his mind - only a few years back of course! Do we have anything earlier than this, in terms of a full and frank interview? I'm sure we don't. I liked the piano improvisation (kept expecting to maybe hear a Genesis or early solo song in there, but no!). The tape is more like a fly on the wall recording so its fascinating for that alone - a snapshot of Genesis on tour in the early 70s. I do think he sounded quite bored and slightly uncomfortable though!

    I love it all! From ‘When the Sour Turns to Sweet’ to ‘One Man’s Fool’. It’s all good! As I said the other day, there are some songs that just don’t do it for me, but I’ll still listen to their entire discography without hesitation.

    Or indeed, from 'The Silent Sun' to 'Run Out of Time'!

    (BTW am I right in thinking that the Not About Us single was the final release by Genesis as an ongoing band? I like the idea that 'Run Out of Time' is the "last" Genesis track, with regard to the lyrics. Did they know, or guess?)

    I have to mention that And Then There Were Three deserves honorable mention for being an especially atrocious album cover. I love the songs within; god knows what is going on on the cover. I know that it has been explained on Wikipedia and stuff, I can’t see any of that though when I look at it.

    Well it's a fairly standard Hipgnosis cover in that it's abstract and ambiguous. Don't know if it's really meant to mean anything. However, I do like it. It's atmospheric (that beautiful sky!) and suits the album well.

    Looking For Someone is actually my favourite Trespass song. This is the song with the most hermetic and obscure lyrics pre-Lamb. Peter's acapella vocals deserve a special mention.

    I find Looking For Someone fascinating for this exact reason. It's the only Gabriel-era track I can think of that seems to be written from the point of view of the singer, if you see what I mean. Other first person lyrics are in character. It's definitely more reminiscent of the Lamb lyrics, but again they're in character. It really feels a lot more like a Gabriel solo lyric. I'd love someone to ask him about it - why did he not write another song like that until he left Genesis? Etc.

    This is assuming of course that he actually wrote the lyrics! I'd be very surprised if it wasn't him though.