Posts by OneForTheVine

    I prefer Hello I Must Be Going to Face Value, though. Such a raw, angry album. Do You Know, Do You Care ... such an incredible big wave of sound - created by Phil and Daryl only. A drummer's album.

    Oh, that is a mighty song! A lot of space in that tune and, wow, those drums! There's some stuff on that album that gets overlooked probably because it either was never played live (as in Do You Know, Do You Care) or it never made it past the first tour.

    Count me in as a big fan of that song too. If you're upset/angry about something, "I Don't Care Anymore" and "Do You Know, Do You Care" are GREAT therapy.


    I also prefer "Hello I Must Be Going" to "Face Value", but only by a whisker - they're pretty much co-favorites. I even like the off-the-wall songs like "Thru These Walls" and one of the most unusual-sounding pop songs ever, "Like China". How did Daryl come up with that dissonant guitar riff and bizarre solo - I love both! 8)

    Afterglow - The live version especially on Three Sides Live has got a lot more power, than the original, the closing section is pure magic. I never liked Phil`s drumming on the studio version, too.

    Abacab - Also a lot more power, than the studio version. On Three Sides Live the song is brought to a proper end (no fading out in the middle of the "jam"). The two drummers make the "jam"-section particularly enjoyable.

    I Know What I Like - The extended version on Seconds Out is killer. I love the incorporation of the Trespass song particularly.

    That section from "Stagnation" (i.e., the song from Trespass you were referring to) pops up on many future tours too. It's funny - people would readily identify that section as being quintessentially "Genesis" but also may not be able to say where it is from in their catalogue! ^^

    Well, I'm tempted to say "all" - simply because I usually prefer live versions to studio versions (in person, anyway).


    I guess I should ask for clarity in what you meant in your original question. I'm assuming you mean recorded live versions vs. studio versions rather than in-person live versions vs. studio versions. The second option I would almost always prefer live; in the first, that is more variable.


    For recorded (audio or audio/video) live versions preferred vs. studio versions: "The Knife", "The Fountain Of Salmacis", "Watcher Of The Skies", "Get 'Em Out By Friday", "Supper's Ready", "I Know What I Like", "The Cinema Show", "The Waiting Room", "In That Quiet Earth", "Afterglow", "Abacab", "Who Dunnit?" (yes, seriously :D ), "Home By The Sea/Second Home By The Sea", "Domino", "Dreaming While You Sleep", and "Fading Lights".


    Most songs I like both versions about equally.


    As a bonus, I'll include the reverse, i.e., songs where the studio version is better than all live versions I've heard: "Follow You, Follow Me" (the essence of that song is Mike's guitar effect on the studio version - it never sounds right live), and "Firth Of Fifth" (I love the piano beginning and, in most live versions, it is either left off or (if you have access to boots) Tony very often finds some way to mess it up ^^ - no knock on Tony, but he did struggle with it live).


    Good question. :)

    Well, Genesis withdrawal will not be too long after all! ^^


    Trespass will be putting on two shows this summer - one in Bryn Mawr, PA on Sat., July 14th:


    http://www.ticketweb.com/event…wr-gazebo-tickets/8164395


    and


    another at the Railroaders Memorial Museum in Altoona, PA (of all places) on Fri., July 27th:


    http://www.railroadcity.com/sh…ive/7-27-trespass-genesis



    They play mostly Gabriel-era material, but recently they have started playing ATOTT songs too. They are great! 8)

    Ah - thank you for this!


    From the Canadian dates, that means they will be back around where I live Feb./Mar. 2019! 8)

    Hmmm...ok, I'll give this a go too...


    1. Sledgehammer

    2. Against All Odds (Take A Look At Me Now)

    3. Two Hearts

    4. A Groovy Kind Of Love (yes, I'm surprised that I like two of Phil's "Buster" soundtrack songs this much too)

    5. The Living Years

    6. Invisible Touch

    7. Another Day In Paradise

    8. Sussudio

    9. One More Night

    10. Separate Lives


    A couple of notes - these are roughly in order of how much enjoyment I get from listening to them (although after #1, the enjoyment drops precipitously - I'm not generally a fan of chart-toppers...)


    "The Living Years" and "Another Day In Paradise" are, from a detached and more objective point of view, better songs than many I put ahead of them. However, I also personally find them a bit depressing; thus the lower placement.


    Yes, give me album tracks over any of these any day that ends in "y". ;)

    ...and a final P.S., then I'll stop writing about them...maybe... ;)


    They did the full "Unquiet Slumbers For The Sleepers" and "In That Quiet Earth" before "Afterglow", which made everything even more wonderful. 8)


    You can tell that they are just a bunch of Genesis fans themselves who had the musical ability and the interest to commemorate their favorite era of the band. I for one am very grateful. I think I even saw the one of the webmistresses from the old Genesis-Music.com forum dancing with joy in the front row - an added special treat! ^^

    OK, I accidentally lied - a P.P.S. for you (and that really should be it...I think... :rolleyes:


    They also played "Entangled". 8)


    That is all (possibly).

    Yes! I think there are more than a few here who like the 4-man band version best (myself included). ATOTT (IMHO) always sounded like the more proper sequel to SEBTP than The Lamb did. The Lamb was completely sui generis to my ears - great, but wholly unique in the Genesis catalogue. ATOTT and W&W continued the classic, established "Genesis sound" starting with Trespass all the way up to SEBTP.


    I was always amazed that they were able to lose PG and continue and then lose SH and continue - neither of those are easy things to overcome. Heck, even in the early days, losing Ant Phillips made them consider not continuing briefly. They really are one of the most resilient bands ever.

    ...and I just realized I didn't say what I voted for when I wrote this! :rolleyes:


    Voting for three over the whole range of the band is really difficult (as many properly have said) - I went with W&W, SEBTP, and Duke.


    If I had the freedom in the poll to vote for top three from 1970-1977 and then 1978-1998, that I could do much more easily: in the first group, it would be W&W, SEBTP, and Nursery Cryme (w/ ATOTT virtually tied); in the second group, it would be Duke, Genesis (i.e., the eponymous 1983 album), and Abacab (w/ ATTWT virtually tied).


    Tough to do a full-ranging poll with a band who evolved so much...

    Oh, I loved the Division Bell album and tour. I remember the BBC screening one of the shows 'live' and a bunch of friends and I made it a big social occasion and watched it (one of our friends was actually there so it was quite something to be watching it, knowing he was in the crowd somewhere). If you haven't already, check out this site: http://yeeshkul.com/forum/forum.php they've got a lot of bootlegs from the Division Bell tour; maybe you'll find one that changes your mind.

    I concur on "The Division Bell" album and tour - I loved them! :thumbup:

    "Face Value" and "Hello I Must Be Going" for me - I really wish I had seen him on his tour with the "Hot Tub Club" (a la, the Perkins Palace show). I like about half of "No Jacket Required" too (namely, the album minus the singles - I'll keep "Take Me Home" though and include "We Said Hello Goodbye" too).


    The next two are good, but "Phil-Collins-saturation" had taken over the planet by then. So, I'd gone off Phil's solo stuff a bit then.


    DITL and "Testify" make me utter the opening of "Dance on a Volcano" - "Holy Mother Of God..." <X (When I first heard DITL, I said out loud, "You left Genesis to make this?!?!")


    And, I like "Going Back" - it's cute and unpretentious.

    Well, this band fits a need. We have "The Musical Box" to wonderfully commemorate the Gabriel era (among many other great bands on both sides of the pond), but "The Genesis Show" is to the 4-man band what TMB is to the 5-man (musically anyway - they don't look like them back in the day).


    In short, their setlist is basically "Seconds Out" with a few extras - last year, the extras were "All In A Mouse's Night", "One For The Vine", and "Inside And Out"; this year, from feedback received from their fanbase, they incorporated songs from the 1976 (and very early 1977) tour ("Lillywhite Lilith", "The Waiting Room", "Inside And Out" (again - thank goodness), "Wot Gorilla?", "The Cinema Show" and "IT/Watcher Of The Skies"). I bet before too long they may even play "White Mountain"...


    Well, if you can see them, by all means go - they are outstanding! :thumbup:

    ...and a final P.S., then I'll stop writing about them...maybe... ;)


    They did the full "Unquiet Slumbers For The Sleepers" and "In That Quiet Earth" before "Afterglow", which made everything even more wonderful. 8)


    You can tell that they are just a bunch of Genesis fans themselves who had the musical ability and the interest to commemorate their favorite era of the band. I for one am very grateful. I think I even saw the one of the webmistresses from the old Genesis-Music.com forum dancing with joy in the front row - an added special treat! ^^

    Well, this band fits a need. We have "The Musical Box" to wonderfully commemorate the Gabriel era (among many other great bands on both sides of the pond), but "The Genesis Show" is to the 4-man band what TMB is to the 5-man (musically anyway - they don't look like them back in the day).


    In short, their setlist is basically "Seconds Out" with a few extras - last year, the extras were "All In A Mouse's Night", "One For The Vine", and "Inside And Out"; this year, from feedback received from their fanbase, they incorporated songs from the 1976 (and very early 1977) tour ("Lillywhite Lilith", "The Waiting Room", "Inside And Out" (again - thank goodness), "Wot Gorilla?", "The Cinema Show" and "IT/Watcher Of The Skies"). I bet before too long they may even play "White Mountain"...


    Well, if you can see them, by all means go - they are outstanding! :thumbup:

    Greater Philadelphia area (yes, that includes you, NJ, Delaware, NE Maryland, southern NY, and anywhere else in PA), after seeing these guys at the Keswick last December, then Steve Hackett in February, then The Musical Box and Trespass in March, why not top it all off at the Scottish Rite Auditorium on April 21st by seeing The Genesis Show again? That's right! There's no good reason not to! [Blocked Image: http://www.conforums.com/boardimages/grin.gif]


    Here's the link again - see you there!


    https://www.thegenesisshow.com/shows

    Final reminder! Today's the day! 8)

    Really? Do you have any examples? It's been confirmed by all involved with the project that no alternative vocals were used so I'd be interested to read which vocals you think have been replaced. Regarding instrumentation, I actually hear more stuff going on in the mixes, not less so, again, which parts do you think have been removed?

    The funny thing is that it was exactly this topic that turned me off to the Hoffman forum when the boxsets came out. I remember people making huge lists of everything that was "wrong" with the new mixes. When some of them ventured over to the old genesis-music.com forum, I ignored those posts instantly.


    Having said that, there were some curious developments on some of the songs when they went to remix them, namely, some of the masters couldn't be found. I remember reading an interview with Nick (it was either in one of the booklets of the boxsets or in a magazine interview - if we still had access to the old forum, I could find it for you in a heartbeat), and he said that when they were going to make a surround version of "Say It's Alright Joe", they couldn't find the original master. So, he had to use the best master at hand and create a "faux surround" mix - the amazing thing to me is that I sure as hell can't tell that SIAJ is not from the original master. It was very well done. Also, some others were never found in addition, e.g., the masters for the extended editions of "Mama" and "It's Gonna Get Better" they just couldn't locate; thus, they weren't included on the 1983 eponymous album's CD/SACD/DVD-A.


    Just very recently, I finally upgraded my stereo to a surround sound system. And, since I also had a player that could play SACDs, I was quite happy to rediscover the boxsets (it really was like hearing them again for the first time). Unfortunately, there were a couple of bits that do, in fact, seem to be missing. Now, you are also completely correct that there are new things that were not audible before - I notice those on virtually every album (and they sound even more amazing in 5.1). The two albums that I pointed out early on as ones where I prefer an older version are the ones where things didn't sound quite right to my ears in the new stereo mix (those were "Duke" and "The Lamb").


    So, since the new stereo versions were mix-downs from the surround mixes, I decided to check out the surround versions on SACD and DVD. I wasn't imagining things - the things I noticed were missing on the new stereo versions weren't in the surround mix either. Now, they are minor things - only two bits on "The Lamb" and a couple of more on Duke - but these things that I heard on the older stereo mixes are just not there. "The Lamb" ones I can remember off the top of my head, but the "Duke" ones I'd have to listen to again to get specifically (they consist of a couple pieces of piano accompaniment and a missing guitar break, as I remember).


    The Lamb examples are the "la, la, la" bit after "she's such a fine dancer" on "The Supernatural Anaethetist" and a small percussion break during "The Colony Of Slippermen". In the first one, on the new stereo mix, you can still hear it, but it is much quieter than on the older versions. When I went to check it out on the surround mix, it is audible, but very faintly - the channel that usually carries the vocal track is the center channel, and, during the "la, la, la" section, it is completely quiet. Something happened here - I don't know what. The percussion bit in "Slippermen" is right before the lyric "he places the number into the tube" - Phil, on the older mixes plays, this slappy-sounding percussion part before the lyric; on the new remixes, it's just not there.


    Now, that doesn't mean I can't listen to the new versions of "Duke" and "The Lamb" - I just regard them as new versions. As people have correctly said, there are many more new and extra things that are now audible on all the remixes of all the albums; however, there are a few rare bits from the original versions that are not audible anymore - thus, on two albums, I prefer the older stereo versions. However, overall, I fully embrace the boxsets and listen to them most often.

    I forgot to mention Armando's book - I have had that for ages and it is indeed excellent. :)

    I just re-read Chapter & Verse recently and was reacquainted with how much I enjoyed it! I'm now re-reading Alan Hewitt's "Genesis Revisited" - both books complement one another well, IMHO.


    I keep meaning to get Mike and Phil's books (I probably will soon), and I further hope that Tony, Steve, and Peter will get around to writing official autobiographies.