Posts by Dr. John

I think it is a well crafted pop song, with a nice keyboard hook and great vocals from Phil. If it comes on the radio, my foot will tap along. But it is not a song I seek out to listen to. The organ solo is a bit boring, being just a variation of the main melody. Even in the poppiest of songs, Tony usually comes up with something more interesting. And I find much of Mike's solo boring. His guitar part is best for the melodic, likely pre-written part, in the sequence going from Am to D.

Here's my favourite cover of it by Vince Gill and Allison Krauss:

Quote from thewatcher

I would completely agree that these things would be worthwhile, but I have little faith that the band would see it that way. A couple of discs of your first point, a couple of discs of the other live version, and the main album would make a very fine 6 disc deluxe edition (throw in a DVD too!) but I'd eat my hat if it ever came to pass.

I agree that these extras are more wishful thinking than anything the band might approve. Still one can dream.

My knowledge of Lamb-related recordings is limited, however I could see the following being worthwhile in terms of the extras:

• Alternative takes, early or jam versions, and other unreleased material - probably 1-2 discs. Based on previous discussions on this board, this would be of great interest to some and less interest to others.
• I vaguely remember Tony commenting on how another properly recorded live performance from the tour had been unearthed after the Archive 1 Shrine performance was released. If there is such a performance recorded, that would be lovely to hear warts and all. If not, I would be happy with a re-release of the Shrine concert without the overdubs.
• Genesis has done great performances of Lamb material over the subsequent years: TLLDOB, Fly On a Windshield, many versions of ITC, Back in NYC, many versions of Carpet Crawlers, one performance of Lilywhite Lilith, IT. It would be nice to have a disc of performances that aren't already officially released from existing multi-tracks and perhaps board tapes if no multi-tracks exist.

Looking into this a bit more, Jeff Porcaro (drummer for Toto) has talked about emulating the groove in Hot Fun In the Summertime for Hold the Line. So there could be more than one pathway of influence.

Quote from The Hogweed

Really? I mean how far can we go here? Surely it had some TOTO vibes.

The connection between Sussudio and 1999 is far more obvious

I don't think I am reaching for a similarity. As mentioned, the chords, key, and time signature are exactly the same between the chorus of Hot Fun In the Summertime and Misunderstanding. The Wikipedia entry that rkive pointed out indicates that Phil was influenced by the HFITS, although I don't see a specific citation.

By contrast, the chords for Sussudio are only similar, not the same, as the chords for 1999. And the groove is entirely different.

Quote from rkive

https://en.m.wikipedia.org/wiki/Hot_Fun_in_the_Summertime

PC was inspired by Toto and they by Sly.

Interesting. I haven't seen that before.

As mentioned before, Misunderstanding is a close match to the chorus of Hot Fun In the Summertime. Same chords, same key, same rhythm. Even if Phil doesn't acknowledge the connection, I wonder if this was percolating away in his brain somewhere.

Quote from Ben

You can listen SO version remixed by Abbey Road a few years ago. The sound is heavier, yet very dynamic, and the voice much more forward. It's a radical transformation!

While the overall sound and dynamics may have shifted on the newer version, it is still drawing from a tour where the guitar sounds and drum sounds are different than what occurred in studio on ATOTT. So I am not sure if the new version would sway me.

I prefer most Genesis songs live over studio. The live versions often gain power and the arrangements are further perfected. However there is a short list of songs where I prefer the studio versions:

Firth of Fifth - because of the acoustic piano intro

The Lamb Lies Down On Broadway/Fly On a Windshield - the former has more energy and edge plus acoustic piano in the intro; the latter has maximum power and atmosphere

Squonk - more edge and aggression

Ripples - more delicacy in the guitars and a soaring vocal performance, plus acoustic piano

In That Quiet Earth - I love the half-bar at the point where all the instruments briefly cut out. They smooth this out on live versions

Turn It On Again - edgier and more driving than any live versions

No Reply At All - better with the horns (I know there are a few performances with them)

Mama - Phil's singing is at a peak on the studio version and most of the live versions chop out a verse

It's Gonna Get Better - I prefer the falsetto on the high bits on the studio version

Invisible Touch - better energy on the studio version

Definitely the studio version. There's a crispness to the guitars and an overall aggression that is fantastic. The live version is much smoother and loses this edge - practically everything on Seconds Out loses this aspect, which is fine for some things and worse for others.

When I first heard this song, I couldn't get past that it was a (likely inadvertent) ripoff of the much superior Hot Fun in the Summertime. I usually hit Skip as I just find it boring.

Quote from Mr.Farmer

Yes tomorrow. A band I've never got round to seeing for some reason although I have gotten into them much more in recent years.

I guess going to see Yes as they are is bit like going to see Steve Hackett and calling it Genesis although Yes have become somewhat more of a concept than a band. I can't imagine what they will be like without Jon Anderson, I have no idea what thier singer is like however I'm sure it will be a good show and I'm really looking forward to.it.

Jon Anderson did shows with the Band Geeks last year and has more U.S. shows planned this year. The performances I have seen on YouTube are quite impressive. He is still singing very well.

Good, not remarkable. If it wasn't on a Genesis album, I probably would have listened to it once and moved on.

I also rated this a 15. I love the intricacy of the acoustic 12-string parts, the acoustic grand piano, Steve's hypnotic solo, the poignant lyrics, and Phil's soaring, seemingly effortless vocal.

Although the live versions are good, they are a little more rough and ready than sublime, so I mainly prefer the studio version. The 2007 live version, even with the key change, actually comes closer in feel to the studio version than the late 70s and early 80s versions.

Rutherford: I still remember all the alternative tunings for my 12-string parts.

Collins: Some of our more idiosyncratic lyrics are my favourites. I love the mention of "breadbin" in All In a Mouse's Night. And I'm totally into the lyrics for Abacab.

Quote from thewatcher

That does sound lovely.

To add to my somewhat miserable commentary above though, a couple of people I work with had stories of driving to the path of totality, which sounded fine, the totality itself which sounded amazing, and then driving back which sounded nightmarish. 12 hours to cover a 3-4 hour distance, 4+ hours of not moving at all on an interstate where the exits have all been blocked off to prevent detours through little towns. People wandering into the woods to relieve themselves. Sounds kind of dangerous actually. I'm profoundly grateful I didn't chance it with the kids, it would have been disastrous. I wonder if any Teslas died halfway home!

The path of totality was only about 1.5 hours from our place, so we went the day before and had a mini-vacation, since it is in our local wine-growing area. We visited some wineries, did some hiking, and then had little traffic to contend with on the day of. Driving back was definitely slow, but only 2.5 hours.

Yes, I haven't seen anything on the session with Phil. The session with Nic was great though, with him demonstrating different classic Phil parts for different songs.

Undeterred by the bah humbug mode above, we had a great eclipse experience, driving frantically around the Niagara Escarpment until we found an open patch of sky just minutes before totality. Seeing the sun getting fully blocked out with the surrounding corona, seeing sunset effects on every horizon, feeling the temperature fall and the birds suddenly quiet, and then experiencing everything reawaken minutes later was magical.

I love how different it is. I love how rhythmically focused it is. The jam in the live versions is my favourite section.