I've never heard of Bots.
Deserted Cities Of The Heart by Cream is one that comes to mind - I didn't notice that until I was absent-mindedly drumming along to it one day with my fingers on the desk!
Speaking of Cream, the instrumental breaks before each verse are in 5/4.
Finger drumming - perhaps the only percussion that I think I truly excel at! 
Nice list. I agree there are lots of songs/pieces in odd time signatures that are still very catchy and can be popular. The Police's Mother however doesn't strike me as "easy to listen to, commercial, or popular" (although I think it is hilarious).
Heart of Glass by Blondie and Joan Jett's cover of I Love Rock & Roll also go into 7/4 in sections.
I agree about Los Endos being too slow.
While I would have loved many older songs, I accept that they had to play mainly the songs that made them famous. If they didn't, they wouldn't have been able to fill stadiums. And if they didn't fill stadiums, the tour might not have been as financially viable. Remember how the North American part of the CAS tour ended up being cancelled because of poor sales.
There was another thread that mentioned the structure of long instrumental introduction followed by the song (Behind the Lines, Blood on the Rooftops, etc.).
There is also the structure of mostly instrumental with a short song section in the middle (Duke's Travels).
Jane Siberry, tomorrow night in Toronto.
Let us know how it was. I hope to see her sometime here in Scotland.
Imogen Heap was fabulous. She uses the gloves (allowing hand motions to trigger and manage all kinds of music) on everything, sometimes performing solo and sometimes with her band (Guy Sigworth from Frou Frou, a drummer, guitarist, a cellist, and another keyboardist). She was in great voice and played everything from new songs back to her days with Frou Frou. She did Hide and Seek more in the style of the version from The Cursed Child (just her and gloves). She was also very funny and disarming with the audience, taking questions from them at various points.
I was lucky enough to meet her afterwards and chat a bit. Very warm and thoughtful in person.
Definitely catch her if she comes to your neck of the woods.
The Who in Madison Square Garden Monday night (May 13) for most probably their last appearance there ever.
A bittersweet occasion, but I'm glad I'll be seeing it.
I was going to see them in Toronto on June 1, but then the show got rescheduled to a date that I am out of town. Hope you enjoyed the show.
Imogen Heap, Toronto, this Thursday
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I have been to classical music concerts since I was a young child.
My first rock concert was Rush on the Grace Under Pressure tour. Next was Yes on the 90125 tour.
Display MoreMy first concert was Max Webster in 1979.
I was a fan since their debut and when I finally saw them in concert, they were touring their fourth album, A Million Vacations which, of the five they put out, this one ended up being their biggest selling release in Canada.
Prior to that, I think they tended to play clubs and licensed establishments where young teens like myself wouldn't have been allowed entry.
To this day Max Webster remains one of my favourite bands from Canada. They never gained the popularity outside of this country I thought they deserved.
When I have encountered non-Canadians who have heard of MW it is usually because of the song “Battlescar” (Rush guested on that track – and in exchange, MW’s lyricist Pye Dubois provided the words to "Tom Sawyer").
Being a Canadian, I am quite familiar with lots of Max Webster, although I have never seen them live. They have lots of great stuff from catchy stuff like Diamonds Diamonds. Let Go of the Line, to kick ass rock like High Class in Borrowed Shoes. Worth checking them out if you are unfamiliar.
I definitely hear the country influence in That's All. The Alison Krauss and Vince Gill cover makes it even more obvious:
Agree that The Roof Is Leaking also has country in it. Me and Virgil has a bit too.
People haven't mentioned soul and R&B, maybe because there are lots of examples: Misunderstanding, No Reply At All, Sledgehammer, etc. Peter also used to cover Marvin Gaye in his early solo tours.
I hope that the main reason Steve has explored the older Genesis catalogue so much is because he really enjoys playing the songs again. When I saw him, he seemed to be really into it. And that's why I think these tours have been successful for him. He's playing songs that a segment of the broader Genesis audience loves and is playing them with what seems like a genuine passion.
I would not want to hear a half-hearted performance of a song, even if it is one I desperately want to hear live. So I would not want Mike (and Tony, and Peter, etc.) going through the motions of playing older classics ambivalently. If Mike is more into playing I Can't Dance, it will result in a more satisfying performance than if he had to push his way through a rendition of Fountain of Salmacis.
I didn't know that.
I knew she liked Peter Gabriel's solo work.
In fact, some of the tracks on Fumbling Towards Ecstasy — "Possession" comes to mind, the way she employs her voice and the rhythm section — sound to me like they were inspired by the music on Us or So.
She definitely likes Peter's solo work. She released a cover version of Solsbury Hill on a CD single with her first album. She also has mentioned really liking Passion and also the song In Your Eyes.
In terms of Genesis, there was a CD called Influences many years ago. It included her picks of songs that she found influential and was led off by TLLDOB. On Twitter she also mentions TLLDOB as an influence, though it is unclear if she was referring to the song or the album https://twitter.com/sarahmclachlan/status/484444532067815424. I've chatted with her a few times over the years and she once mentioned to me that she covered IKWIL back in her very early years, I think before her first album.
It was just the three of them playing that same instrumental section when I saw them in 82.
Chester got up from his stool at the end of ITC to leave the stage and Daryl followed.
It is really magical to see/hear what just 3 people can create on stage.
I was 16 at the time of the Mama tour and to this day regret missing it. I was into Genesis by then but had only attended two concerts of any sort, so I was not yet in the mode of seeing every band I liked.
The Invisible Touch was a thrill, particularly because of the full ITQE going into the last part of Supper's Ready. When I heard the first few accents of Apocalypse in 9/8, I couldn't believe it. I also appeared to be the only person in my area that a clue what they were playing.
I sat closest for the We Can't Dance tour - about 8 rows from the front. It was also a great experience, particularly Fading Lights live.
The TIOA tour was also lots of fun, with a hefty wave of nostalgia washing over me.
Although I like Dire Straits, I have not been a completist fan and cannot rank all their albums, although I generally like the ones I have heard through Brothers In Arms. I also really like Alchemy, the live album from the early 80s. I think the live versions of some of the earlier classic are really powerful.
The Lamb has always been one of my favourite albums, simply because there is so much great music on it. However, I do tend to agree with many of the common criticisms Backdrifter refers to. I do think the story is weak, although I find the story weak for most concept albums. If the narrative can't engage me and create characters I care about, then the songs ultimately have less emotional weight. I also find Peter's lyrics sometimes more clever than meaningful, a weakness he didn't entirely sort out until into his solo albums. All that said, I was never into earlier Genesis because of the lyrics, otherwise I wouldn't listen to songs like Firth of Fifth.
The music is amazing for the most part and everyone is playing at the top of their game. I not only love the grand classics that everyone loves, but also the shorter and sometimes slighter numbers such as Here Comes the Supernatural Anesthetist. I also like how musical themes are recycled in various songs, providing some musical continuity through the album. I am a bit mystified by the appeal of The Waiting Room. The first 3 minutes might be fine as the background for a film scene, but for me are tedious for repeated listenings. The last couple of minutes is a lackluster jam on a single chord.
This is such a fantasy, so I will indulge. I am skipping FGTR because I have no interest in hearing one of the tracks live.
Dance on a Volcano
The Musical Box
The Dividing Line
Firth of Fifth
Blood on the Rooftops
Silver Rainbow
Down and Out
Dodo/Lurker
The Lamb Lies Down on Broadway
Duchess
Domino
The Knife
Supper's Ready
encore
Fading Lights
I agree that it is Daryl, based both on the playing and guitar tone. I also agree with Schrottrocker above that it would make more sense for Mike to play the part he always played rather than have to learn the guitar part. I can't think of any older Genesis song where Mike switched to playing Steve's part live instead of Daryl.
This plus Back in NYC were the two surprise additions to a few of the Duke shows. I wonder why they decided to briefly bring them back into the set?
Very appreciative and thoughtful analysis of a classic song. I like how during some bits he is just geeking out while listening, doing air drums.
I posted about the surround sound mix of XTC's Black sea on the "recent purchases" thread, and mentioned a couple of interesting things about the album from the sleeve notes. Rather that hi-jack that thread, I'll post this "also mentioned" item here:
Apparently, the scratched record effect used at the start of "Respectable Street" was done by mutilating a test pressing of Peter Gabriel's 3rd album, which presumably they had lying around as Hugh Padgham was involved in both albums.
It would have been even more apropos if they had mutilated a copy of the 2nd album.
