Posts by Dr. John

    Here's an obvious example of these being live vocals:

    In the Kracow performance, he has his mic in the right position to catch the full line of "Come on, come on help me do":

    In the Verona performance, he misses getting his mic back close to his mouth to catch the first part of the line, showing he was clearly singing it live and also that these performances were different:

    I love what I'm seeing there on that possible setlist! Although, I REALLY hope they play Red Rain. If he just includes that one with everything else I'll be so happy! My 11 yr old daughter is coming with me, and Sledgehammer and Red Rain are a couple of her favorite songs!

    I imagine it's possible, as he always plays it-it's kind of a live staple!

    He played it in Krakow just a short while ago - see that thread.

    This is one of my favourite tracks. It has a lot of complexity in the chords and Tony's double-hand playing, and yet at the same time is very catchy. I have spent a lot of time trying to learn the keyboard part and I still marvel and Tony's ingenuity. Mike's bassline is almost a lead riff for the song. Phil's drumming and harmony vocals are great. Although Steve's presence is harder to hear, he adds a softer texture amongst a lot of harder edges. And while Peter's vocals don't make me think of Puerto Ricans in the slightest, he does inhabit a particular attitude right from the get-go that establishes Rael's character and enlivens this song.

    Although I almost always prefer live versions of Genesis songs (more power, more integration), this is one of the few that I prefer the studio version. As others have mentioned, the studio version is more aggressive and has more sharp edges. The Seconds Out version is sped up and light. The versions/snippets from the early 80s and also the Old Medley were better at recapturing the original spirit. The version from Archive 1 is closer to the album, but like all versions, suffers from the lack of an acoustic piano to start it off.


    After collecting all the details from recent IG videos/posts, zooming some Tony Levin's photos and re-watching some Bandcamp Full Moon Videos, I came up with a 16 tracks list: don't know if all of these will be the songs in the final setlist, but it's certain all these 16 tracks in the following list have been rehearsed for the tour (behind every title, I've put the the source from which I got the information):

    Welcome. And I am impressed by the work put into figuring this out!

    I'm a casual Lightfoot fan, with a few of his early albums on vinyl and a best of on CD. He wrote some great songs. Some are at a personal level, e.g., If You Could Read My Mind or Carefree Highway. Some are great takes on Canadian history, e.g., The Wreck of the Edmund Fitzgerald, Canadian Railroad Trilogy. For the uninitiated, here's a sampling:

    Didn't Elvis Costello have a Wheel of Songs on one tour, where he would spin it and then play whatever came up?

    The challenge for Genesis is that their songs are hard to do off the cuff. Most are complicated enough to require a fair bit of rehearsal and they are also coordinated with visuals that require preplanning. For artists that play straightforward songs with straightforward visuals, it is much easier to mix up the setlist.

    I agree that the versions of this medley were clunkier than others. Nonetheless it was cool to hear how EEOM sounded 6 years later, even if it was for only a verse or two.

    Rick Beato just put out another interesting analysis of a song from A Trick of the Tail. He previously featured Dance On a Volcano on his What Makes This Song Great series. This time he is focusing on Ripples, analyzing the chord progression of the verses and chorus. It's quite interesting for musicians as I had never given much thought to the relationship of some chords to each other. But even for a casual listener, he really highlights the brilliance of the music and the production. Unfortunately he never gets to talking about the instrumental section, which is also fascinating. Hope this analysis turns more people on to a great song on a great album.

    I know we're getting way off topic here, but who cares...

    Steam is very derivative of Sledgehammer; it's even in the same key. Kiss That Frog is at least a bit different. I know most people really don't like it, but I don't mind his infrequent forays into whimsy. While it doesn't hold up to the stronger songs on Us, it does provide some contrast and variety.

    I think a future tour is about as wishful as wishful thinking can get. A very unlikely, but slightly more conceivable possibility is a one-off performance for a special situation - maybe a charitable event or a tribute. That could result in Peter doing a song or two with Tony, Mike, and Steve. I hear no motivation to get together for old-times sake, but a specific cause or external obligation could provide the spur.

    The most interesting part of the Encore series was the 2007 tour where Gabriel was resurrecting many songs he hadn't played for ages. I have one where he played Moribund, On the Air, DIY, Humdrum, and Mother of Violence.

    I certainly hope the new tour would result in some kind of release, given that at least some of the new songs will get an airing.

    Well, yes, undoubtedly, they know their craft, they are certainly top drawer and we are reminded of that , even in their weakest songs but I must say I don't find much substance to Paperlate, there is IMO a bit more in NRAA, even though it's another one I dislike.

    I also prefer NRAA of the two, particularly for Tony's keyboards and Mike's bassline. I still like Paperlate nonetheless.