Posts by Dr. John

You may not get as many people noticing this thread as it is currently in the Board Discussion section, which is where people discuss how the board itself functions, not for discussion about Genesis music. Perhaps the mods will be able to move this to the Genesis Music Board, which is where these kinds of threads usually reside.

In terms of the Lamb's story, while I agree that Peter had the ambitious aim to tell the story of a transformative journey, I think that in execution it ends up being a lot more muddled. Part of the problem is that it is not always clear (to me) why Rael goes through these changes. It seems that things were done to Rael to cause changes, but it less clear that Rael was necessarily engaged in spiritual reflection and choosing to make changes. The choice that Rael makes about choosing his brother over returning to his old life in NYC is the only clear example of him picking this pathway. Even then, I am not sure why he is making this choice. Now I may be wrong about my interpretation of things, but then I would argue that the story should be clearer for me to pick up on what I have not.

I would not want to hear a back-up singer version. A Gabriel-sung version I can dream about - a one-off cameo is at least remotely possible, though it won't happen in my neck of the woods. I'll take the instrumental section as part of a medley.

Apocalypse in 9/8 is a surprise. That is a challenge to sing - high and hard. Phil had difficulty back on the IT tour 25 years ago. So they must be shifting the key down a lot.

Quote from Christian

They had no intention to make this a heavily promoted, expanded re-issue. It was just about making this available again. And finally we have a Remaster of that 2CD version, which was very rare before (i.e. Japan LP sleeve CD)

Then I'll have to hear how much better the sound is compared with my original 2-disc version. Will look forward to a review.

I just wish they would expand this release. I love the live version of Kiss of Life. Versions of Across the River and Lay Your Hands On Me from this tour that I've heard sound great. And I'm aware of several other songs that were played, including Games Without Frontiers, Here Comes the Flood, Wallflower.

I like the album box sets, which are remixes. Many albums are enhanced by the remixes - for me, particularly the Lamb and And Then There Were Three. The more recent albums - IT onward - don't seem to benefit as much. I love some of the 5.1 mixes for some albums or even some specific songs. Some people lament the missing or altered bits in the remixes (e.g., lack of outro guitar solo in Misunderstanding), but most of these don't bother me. You also get the non-album tracks with the related albums. The interviews about each album are also interesting, although they are all available for watching on YouTube. There is another thread that goes into details about preferences for these remixes in comparison to the Definitive Edition Remasters from 1994 and the original mixes: thread.

The live box is worth it for the 5.1 mixes for Live and Seconds Out. It is unfortunate that the later albums were not given this treatment.

The movie box is OK in that you get Three Sides Live and the Mama tour video on DVD finally, but no upgrading of the visuals. A few of the extras are interesting (primarily documentaries) if you didn't have them previously from other sources. Overall it is a disappointment as it could have been a lot better.

Though I had heard bits and pieces of St. Vincent in recent years, I finally got her album Masseduction and have really enjoyed it. Off-kilter pop with all kinds of emotional shades.

Great version. I love the combination of different elements, as with other Playing for Change performances.

Heroes

My Body Is a Cage

The Book of Love

Overall I found this album underwhelming. A lot was fine, but not essential listening.

I agree it would be helpful to have at least the existing reissues and boxes more readily available for newer fans.

I also agree that the band members appear to be not invested in releasing more unreleased material in general in terms of demos, rehearsals, etc. I think it is unlikely we will see any more of this stuff.

The things I would most value is release of additional live material that was professionally recorded. As mentioned above, a number of shows were recorded for tours after the Lamb. So there are songs from pretty much each tour that were not officially released. I know there is always work involved in cleaning up, mixing, and mastering these recordings before release, so it would have to be financially worth it to do this work.

It goes without saying that I would also love the full footage and performances from the available tours, but this also involves money - acquiring the rights and doing all the cleaning up etc.

The Christmas music I enjoy most includes traditional hymns done, well, traditionally - voices/choir with piano/organ accompaniment. There are few modern takes on traditional carols that I like. I also really enjoy Handel's The Messiah (The Tafelmusik version is fantastic) and Bach's Christmas Oratorio.

In terms of modern Christmas-y music, I like a whole grab-bag of stuff:

• Vince Guaraldi's A Charlie Brown Christmas is great.
• Holly Cole Trio has an old EP of Christmas songs that has a particularly good version of I'd Like to Hitch a Ride With Santa Claus.
• Jane Siberry wrote a beautiful Christmas song called Are You Burning Little Candle that first appeared on Count Your Blessings and then also appeared on her Child live Christmas album (which has some other fun stuff).
• Katherine Wheatley wrote a particularly poignant portrait of family tensions at Christmas called Rita - the best version is on a compilation Stuck on a Cold Steel Pole.
• A Christmas Gift for You from Phil Spector is fun, particularly The Crystals' version of Santa Claus Is Coming to Town (probably the inspiration for Bruce Springsteen's version).
• The Roches' We Three Kings contains some hilarious takes on Christmas classics with exaggerated New York accents - check out their version of Winter Wonderland.
• Joni Mitchell's River takes place around Christmas and is a beautiful song.

Quote from Lazlor

Somehow, I don't feel those two albums belong in the same world. Foxtrot is more dystopian, while SEBTP might be a Lewis Carroll soundtrack. But I love 'em with a passion, including Battle, even though I'd really like to find a vocals-free version of it (same goes for the whole of the Lamb album).

Seriously, guys – yes, The Battle of Epping Forest is packed to the brim with sarcastic words and gorgeous LesPaul/synth lines - so what? Are you gonna tell me that after all this time, you haven't found your way through its wonderful sonic thickets?

I know some of you feel I've been trolling (can't help it – I'm French ), but really: is it so difficult to realise that the first few albums were game-changing – exceptional works in all respects, while the later output still lags far behind Nik Kershaw's concurrent output (which I happen to love)?

TBoEF is a song I could never get into. On paper the words are very clever and Peter does have fun with his vocal characterizations. And there are lots of great musical bits. But for me the song lacks cohesion. It feels like a bunch of stitched together bits and has far too many bits. Complexity doesn't work for me if the whole isn't greater than the sum of the parts.

Quote from seven-eight

That might work for singing it, but poor Tony would have the task of relearning that solo in a new key 😳 Not that he hasn't done it before on In The Cage for example, but that could be a heavier lift.

I don't think he has to relearn it in a new key. He can play in the original key and use a setting on his keyboard to transpose the key down. I think that's what he did on the 2007 tour - he looks like he is playing in the original key even though the song has been lowered.

Quote from MoonlitKnight

I’d love to see them do the second half of Supper’s Ready. Maybe as part of an Old Medley a’la the early shows of the IT Tour. Phil’s voice can’t handle the 666 section anymore, but perhaps they could project the footage from the ATOTT concert film of Phil singing that section as the band plays live on stage? Then Phil could sing the final section “And it’s hey babe” etc live. It shouldn’t be any more of a strain on his voice than Afterglow.

ASAEIE is actually quite challenging to sing too - sustained and fairly high notes. Might be possible if they key the whole thing down a 3rd or more. If they do that, then Apocalypse might come more into range as well.

While I can understand how "plodding/lumbering" might apply to some of Led Zeppelin's more blues-oriented material (e.g., When the Levee Breaks, Dazed and Confused, etc.), there is a lot of material that is stylistically broader. There's the English folk and Joni Mitchell-influenced stuff like Going to California, That's the Way, etc. for example. There also songs with nods to funk (The Crunge), Latin/samba grooves (Fool In the Rain), and the keyboard/synthesizer-based songs on In Through the Out Door.

Although I have an appreciation for the musicianship of Queen in general and for Mercury's skills as a singer and frontman, They have never been my favourite. I find so much of their songs completely over-the-top, which I know is intentional, but I find less appealing.

I agree the early albums of The Eagles were great and there are many less-known songs on those albums that I enjoy just as much as the early hits. By the time of Hotel California, Don Henley and Glenn Frey had developed into very good craftsmen of songs. They could put something together that sounded really good, although it might not have the same emotion and heart that the earlier material had. I think Hotel California is a fantastically constructed song (and credit obviously goes to Don Felder for the music). And even though the song is overplayed, I still really appreciate the musicianship of the duelling guitar parts. But I find myself more energized listening to Train Leaves Here This Morning or Midnight Flyer. I'm not saying those are better songs exactly, but I do find them more engaging than the cynicism of Hotel California.

Regarding Whitney, Mariah, and Celine, all have great pipes and there are a number of examples where they didn't let their melisma run wild. For example, Whitney's early singles such as Saving All My Love For You and How Will I Know are darn good pop without the excess that ruins many of her other songs.

Although definitely some country music reinforces gender stereotypes, there is plenty of great intelligent songwriting that provides a portrait of (primarily white) American culture over the last 100 years. For every "Stand By Your Man", there's many Loretta Lynn songs or many Dolly Parton songs (I disagree a bit with thefarmer's take on Jolene) that define very different positions and perspectives.

And yes, now that I am reminded, I have great difficulty listening to anything by Yoko Ono.

While there is music I dislike or don't care for, I can't say I hate much. There are narrow subgenres where I have yet to find something to like. But I find I cannot dismiss broader genres (e.g., country, hip hop) because there is so much diversity and I always find some artists and songs that I really like.

Many of the comments above mention songs that get overplayed. I too can get tired of some songs that I have heard a 1000 times or more, but it has never resulted in strong dislike, just a waning of enthusiasm. I know every single note of songs like Sweet Home Alabama, Stairway to Heaven, Hotel California, etc., but don't think less of them as songs. I can just listen to them less, to keep them fresher for me.

Some people really don't like ABBA and I echo the comment above about the hidden complexity of these songs. As much as people might perceive a super slick, sugary pop veneer, the music is quite skillful. Dancing Queen has some great harmony structures over the chord progression that are not the "obvious" notes and the bassline is pretty challenging.

If I were to pick a song I find particularly grating, it is Bryan Adams's Summer of '69. I find every single line so incredibly trite. In fact, it is hard to find a line that isn't a cliche.

I enjoy all three, although Pigeons is clearly third. Match is slight, silly, and catchy. Good for a little fun. Inside and Out is a nice story song, but where it really excels is the outro instrumental - great keyboard solo and some tasteful work by Steve.

I have the 3-inch CD single too and don't have a player that will play it anymore, so I'm glad these songs are on the box set or I wouldn't be able to play them.

Quote from FeelItComing

Yes, it was.

It's interesting to compare John's 'personal' songs with Paul's which seemed mainly to be about his relationship with Jane Asher & then Linda. I much prefer songs like You Won't See Me to Julia, but that's just me.

You Won't See Me is just so darn catchy. Julia isn't one of my favourites - I appreciate John was expressing himself, but I find the song a little monotonous.