We have been lucky that nearly every tour over the past 4 decades was filmed and officially released. If the band does not want to do this with this tour, that's their call.
If the band has any energy for releasing filmed performances, my wish would be to focus on the archival material that exists, even if they don't put in the effort to restore it properly. I'd love the 3SL full footage for example.
Yup, he was, especially around the time of Darkness. I think you can hear it a lot on a song like Home Sweet Home.
Now that you mention it, I understand what you mean. I also hear connections to Bowie and Lennon.
... He was really into Springsteen at that time is it's not too surprising that this influence bleeds through a bit, not to mention Roy Bitan being on the 2nd album.
I didn't realize he was into Springsteen at the time. I always thought Perspective owed a lot to Springsteen in terms of its music.
August: Elvis Costello, Nick Lowe
October: The Who
For obvious reasons, this is a transitional album, with Gabriel trying to sort out his style and direction post-Genesis. I never felt that Ezrin was a great choice as producer as I (maybe unfairly) lay some of the responsibility with him for the overly bombastic production.
Solsbury Hill is the obvious classic. The album version has the lovely acoustic guitar parts, not kept for later live version. I also love the sound of what I always thought were flutes on the verses (later replaced by keyboards). My one beef is the silly screeching and grunting at the end, which to me takes away from the poignance of the song.
Here Comes the Flood is one of my favourite Gabriel songs and it starts off lovely. But the choruses are too over-the-top, reminding me of some of the heavy-handed sections of The Wall (another album that Ezrin produced). I far prefer the starker, more minimalist live versions and especially the version on Fripp's Exposure.
Humdrum is my other favourite, with its quirky Latin rhythm sections and its soaring finale.
Moribund is weird and enjoyable. Modern Love is fine, but kind of undistinctive. I don't mind Excuse Me with its barbershop, vaudevillian stylings. I find Slowburn, Waiting for the Big One, and Down the Dolce Vita forgettable.
Haven't the rumours been self-generated, i.e., part of our wishful thinking? Or is there actually a credible source on which to base this possibility?
Display MoreThe set list is mixed, this far we have been practising mostly later songs though:
Let it be
Happiness is a warm gun
Get back
Come together
Oh Darling
Money (That's what I want)
I've got a feeling
Don't let me down
I want you (She's so heavy)
Here comes the sun
While my guitar gently weeps
I saw the set list includes earlier stuff too, A Hard Day's Night, Norwegian Wood, You've got to hide your love away etc.
Cool list. Happiness is a Warm Gun is a good example of a song that can be tricky, because of the time signature changes. Same with Here Comes the Sun.
Another one I have always found trickier than it seems initially is She Said, She Said. The switch to the bridge section particularly can mess me up.
Listening to a lot of Beatles songs since I joined a Beatles cover band a few weeks ago. This far every song gives me this: "Oh I know that one from memory...Wait, what? That's what they play in the backing track???" Beatles songs aren't as easy as memory tries to make them
Agree that they can be trickier than one might think. It is one thing to strum one casually hanging out with friends. It is more challenging to try to replicate them in a faithful way.
There are many musicians who speak about how that Ed Sullivan performance had a huge impact on them and paved the path for them to pursue music as a career.
Cool to see additional footage from this tour.
I had seats in the 8th row for the Toronto show (which I got after demonstrating to a local radio show how I Can't Dance). The trio performance of Fading Lights was magical. And the opening seconds of Old Medley was so dramatic, especially with the first crashing chord and spine-shaking bass pedals. The only thing that felt lame was the Drum Duet end without going into Los Endos.
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.
So it sounds like he might have been able to hear it before he was working on San Jacinto. Or maybe it is just a coincidence.
PG once said No Self Control was inspired by Music for 18 Musicians. You can hear it, too.
Definitely the "ah, ah, ah, ah..." parts for sure. Music for 18 Musicians is my favourite Reich piece. I saw it live a few years ago with him in attendance (he participated in another shorter piece).
I was just randomly listening to suggestions on YouTube and selected Steve Reich's Variations for Winds, Strings, and Keyboards. I was struck how much the beginning reminded me of San Jacinto. I wonder if Gabriel was directly influenced by this piece. I believe he has cited Reich as an influence in general, though I don't know of any specific mention of this piece and San Jacinto.
Duke's Travels/Duke's End live (the version on Archive 2). They were on fire for this performance. Such great energy.
Wishing for setlist changes is totally understandable. However it is not supported by how this band has operated over the past few tours. The main setlist changes they have made have been to drop songs that weren't working for one reason or another and subbing something in that was fairly simple for them to do. The Encore tour was the last tour when they added in relatively challenging new songs for variety. That was when they were a band with all cylinders firing, which is not the case anymore.
So I think impassioned pleas will still not likely lead to the kinds of setlist changes being wished for. The one surprise that I think is possible (and it would be a long shot), is that if either Peter or Steve join for a song in one of the London shows, they might pull a chestnut out. But even in the unlikely event that Peter or Steve join them, it would be a lot easier for it to be on a song they are already doing, e.g., I Know What I Like or Carpet Crawlers.
Thanks for pointing that out. I hadn't realized they had changed that bit.
You are correct that for the "main" refrain section of Cinema Show (the part in A that gets repeated), Daryl joins Tony in unison the second time through:
However, Daryl did this also on the 2007 tour:
Prior to that, on the Mama tour Daryl joined in the repeat section playing arpeggiated chords:
He did the same on the Three Sides Live tour. I can't detect him doing anything on the full version of Cinema Show from the Mirrors tour, unless he is simply doubling Mike on the A chord rhythm part the second time through.
Agree that sets like Archive 1 and 2 are for hardcore fans, so the review should be focused with that in mind.
My beefs with Archive 2 are what you have alluded to. Why did they not include the "full" It's Gonna Bet Better and Mama? Why did they not include other B-sides like the live version of Firth of Fifth from the Encore tour and many other live performances for that matter?
Why bother with such a long breakdown? All you need to do is go to setlist.fm pick your concert date and scroll down to "Songs on Albums" to see the graphic and songs from each album:
https://www.setlist.fm/setlist…l-qc-canada-338a7821.html
Invisible Touch was the highest with 5 (not my most liked album unfortunately) followed by Genesis Mama and Selling England with 4 each.
Thanks. I wasn't aware of these functions on this website. I've mainly just looked at single shows.
That said, the stats per album don't represent some of the details I highlighted - e.g., snippets versus full songs.
I think that if you are billing yourself as a tribute band, then audiences are expecting a faithful rendition of that band's catalogue. In fact, you are evaluated on how accurate your recreation is.
It is different if you are an artist with your own sound and style. Then if you are covering an artist, it is perfectly understandable that you might put your own "stamp" on it - in fact it might be desired. There are many examples where cover versions became the defining version: Aretha Franklin's version of "Respect", Marvin Gaye's version of "I Heard It Through the Grapevine", Joan Jett's version of "I Love Rock & Roll", etc.
And if you are the artist yourself, reinventing your own songs over time is totally fair game. However, Genesis was never really this sort of band. For the most part they stick fairly closely to their original arrangements.
you overlooked Abacab album, but as with Trick, nothing from it! ..2 of my favourite albums, but can't have it all and still some great songs played
Oops. Rectified that.
^ ^ Interesting breakdown.
Strictly speaking Duke should be 5 as Behind the Lines is a distinct segment paired with Duke’s End.
Also corrected that. You are right that they used a bit more of the Behind the Lines intro that what is in Duke's End.
As for Los Endos, the studio version definitely has drums plus percussion, so it would be difficult to do with just one drummer and have it sound right. Also, would we really want to watch yet another segment where Phil is sidelined? I agree that a song from ATOTT that Phil can still sing would have been preferable.
