Posts by Dr. John

    It took me awhile to adapt to Corgan's voice too. It works best for the more aggressive numbers, but is less than ideal for the ones that require more delicacy, at least when he goes above his lower range.

    Not About Us?

    Bingo. Your turn to ask a question.


    I'm curious about why Mike chose to strum an acoustic guitar on this one. He has worked almost exclusively on electric guitars over the previous 2 decades (at least with Genesis). Has he ever commented on this in any interviews?

    Inspired by the "Little Bits" thread, I'm borrowing this idea from another music board I am on. I will ask a question about some little factoid about Genesis. Whoever answers correctly gets to ask the next question. I'm deliberately not putting this in the Games section of the forum because I'm hoping that some of the questions/answers spark interesting Genesis-related discussion.


    A few rules to keep things in order:

    1. One guess per person.
    2. If no one can get the correct answer after 10 guesses (or a lack of responses for 24 hours), then the person who posed the question poses a new question.

    I'll start us off with this question:


    Which Genesis song features the last prominent appearance of an acoustic guitar?

    This isn't a 'bit' as such but I was mulling over it just now so: what is officially the last ever use of acoustic 12-string on a Genesis album?


    As for mellotron, I'm guessing Duke.

    Not sure. Mike used a bit of 12 string on Congo at least, but it sounds like electric 12 string. There's also electric 12 string on the We Can't Dance album. I'm pretty sure there is no 12 string on any material from Shapes and Invisible Touch, including the B-sides. Have to think about this more.

    Visions of Angels is actually quite obvious, Tony plays the opening piano riff on the synth. Recalling from memory, I think it is right after the Stagnation quote.

    Yes, it is right after Stagnation. The part that is identified as a quote from Don't Let Me Be Misunderstood starts at 7:19.


    I too think it is likely that there are more quotes in this jam section, but have never spent the time to go through it all to try to figure it out.


    brilliant. It’s so obvious now you’ve pointed it out! Thank you.


    in other news, Blood on the Rooftops eh? What a track. Tony’s keyboards give me goosebumps every time.

    You're welcome. And all of Blood On the Rooftops gives me goosebumps - Steve's nylon stringed guitar, Tony's shimmering mellotron and haunting lead lines...

    Wretzky looked cool, but I am unclear about how important her musical contributions were. I thought Corgan played all the bass parts for the first two albums.

    I was a huge fan of their first 3 albums. After that I lost interest, more because I didn't find the songs as compelling than any issue with the stylistic changes. The new song Cyr sounds quite good though.

    Some versions of The Band's Music From Big Pink have no band name or album title on the front cover - the back cover has the album title.


    Bob Dylan's Self Portrait has no artist or album title on the front cover - can't remember about the back.


    U2's Achtung Baby has nothing on the front cover, but does have artist and album title on the back cover.

    Well, personally I can't see Phil sing any of the Genesis tracks. His solo tour was ok, but his singing was not. Either that has improved, or we will hear completely different versions.

    Besides that, I won't hold my breath - it's a tour without Peter and Steve, so I assume they won't do much from the very early days.

    Phil's voice is certainly not up to the muscular strength of his peak in the early 80s. So I am not sure how he will handle some of the rehearsed songs that have typically required this. However, it is certainly possible we may get renditions that are a bit more soft and gentle, which could suit the way his voice is now.


    As for Gabriel-era songs, I would expect them to focus on ones that Phil has sung a fair bit previously on previous tours.

    Also great rock & roll in She's A Woman, Kansas City, Twist & Shout, Money (even though the last three of those are covers).

    The Beatles did great covers in the early years. John's vocals on Money, Dizzy Miss Lizzy, and Leave My Kitten Alone are particularly ferocious. Paul's no slouch on Long Tall Sally.

    There is some great pre Rubber Soul stuff although also some rubbish. I have all of their stuff, at least the mainstream releases. But they were a tremendous band . The Red and Blue albums are the greatest complications ever. Each song slightly progressing form the previous. From love me do to the Long and Winding Road. They changed everything in music. The most amazing thing about The Beatles is that they did it all in 7 years! Yes they had several years gigging / working I know but their releases / recordings that changed it all took 7 years . 1962 to 69. 13 albums plus numerous others other stuff. 5 films. They stopped gigging in 66 so as they split in very early ,70 that was just their last 3 years, just over. A blink of eye for touring breaks these days. I can't imagine any band ever getting even close to what they did .

    There was some album filler that is forgettable, but the overall level of quality was still pretty high on the earlier albums. I agree about how incredible their output was for only 7 years.

    While I understand and partially agree about the strengths of their later albums, I am still very much in awe of their music pre-Rubber Soul. There is amazing energy in She Loves You, I Want to Hold Your Hand. There is raw rock & roll in Bad Boy, I'm Down. There is sweet and infectious melody in All My Loving, Eight Days a Week. There are wondrous harmonies in This Boy, If I Fell. And there is just plain awesomeness in Can't Buy Me Love, Ticket to Ride.

    Bowie is an artist who I admire greatly and love work throughout his career. However, with a few exceptions, I have never gotten fully into his albums. I'm not sure why that is. Perhaps his circle of work only overlaps my circle of taste partially, so I really like some stuff and am disinterested about the rest.

    I like all three songs. I agree Match of the Day and Pigeons are a bit slight, but Genesis has always done humorous and lighter songs that are usually on the short side. They do provide a nice contrast to the more challenging epics. The Lamb benefits from the shift in tone provided by Counting Out Time and Supernatural Anaesthetist. Selling England similarly does well with IKWIL positioned between two heavier and longer songs.

    Has he claimed it to be a concept album? Sometimes these terms are foisted upon the artist with little or no consideration to the artist's intent. I read a review somewhere of Phil Collins's Testify album, claiming it to be a concept album, going through each and every song to prove the claim. Although I'm not as familiar with Testify as I am his other albums, my guess is that a concept album was the furthest thing from his mind when he made that record.

    Fair, I don't think he claimed it was a concept album per se. He does talk about it the theme or themes that run through it, but doesn't say that he conceived of it from the beginning as a concept album.

    If we define a concept album as being based around a specific theme or mood, then yes they go back before the rock era. And there are many concept albums since that are in musical genres quite distant from prog (e.g., Beyonce's Lemonade, Roseanne Cash's The List). Tribute albums are essentially concept albums, paying homage to a particular artist. So in this broader category, there are a great many albums that I really like. Peter Gabriel's third album is one example, where all the songs seem to focus on themes of fear, anxiety, and violence. The album also has a very consistent sound, with the gated drums, lack of cymbals, David Rhodes's guitar.


    Of the rock concept albums that follow a specific story, there are very few in which I feel the story holds together, even though the music may be wonderful. The music on TLLDOB is great but the story is a mess. Pete Townshend has written some of his best music around a narrative structure, but the story itself has never worked for me: Tommy, Quadrophenia, Lifehouse, White City, Psychoderelict. I'm not sure I can think of a concept album in which the story and music work equally well for me.