Posts by WinstonWolf

    To me, it doesn't matter if any of the Genesis members are involved. I'm just hoping that the end result will allow us to hear the album the way the band intended. And, that we can actually hear the individual instruments.


    Just not sure how the band's involvement would ultimately make any difference.

    ???


    How could a remix help make the album closer to what the band intended without said remix having any input from the band.


    Since everyone involved in the original is still alive, I don't see why getting them involved in the remixing process is anything but a good thing.

    Well, Abacab's show last night would certainly satisfy any fan of the proggy stuff. I've been a fan for years and I've seen them close to a dozen times and this was by far the heaviest set they've ever played.


    Abacab

    Man Of Our Times

    Cul de Sac

    Ripples

    Easy Lover

    Burning Rope

    Home By The Sea/Second Home By The Sea

    Against All Odds

    Silver Rainbow

    Lamb Lies Down On Broadway

    Fly on a Windshield/Broadway Melody

    Cookoo Cocoon

    In The Cage

    Back In NYC

    Carpet Crawlers

    Throwing It All Away

    Supper's Ready

    I was surprised that we got nothing from ATOTT. And surprised that certain classic older tunes that usually get played by tribute bands were left out (In the Cage/Cinema Show/Afterglow; Carpet Crawlers). Overall, I’d highly recommend seeing these guys. One last compliment: it’s nice going to a concert like this and not knowing what the next song will be. That’s a big advantage over simply doing a single tour’s setlist.

    I know a couple of years back they played A Trick of the Tail in it's entirety (which is cool since I'd never seen a few of those songs every played by anyone) and they've also done both the In The Cage medley and Carpet Crawlers before. The Lamb Stew is brand new for them, and a couple of others in the set are new-ish, which unfortunately means that they can't hit all of the tribute band staples. Like you said it IS fun to not know what's coming next, and they've done a fantastic job playing a mix of the expected and the unexpected.

    I'll see them this Saturday and next Saturday, and I'm really looking forward to the shows. I'm glad they're getting booked in more venues so more folks can see them.


    As for Supper's Ready, I've seen them play it a couple times. It's not a regular tune for them for many of the same reasons it wasn't for Genesis after a while; it's so long it means they can't play three or four other songs, plus it's quite a workout to play. Supper or no, I'm sure you'll enjoy the show. On these shows where they're the only band they usually play 2.5-3 hours solid, and hit a pretty wide variety of songs.

    "Genteel Reputation" is a very kind but accurate way of describing it. Obviously we all wish that all of our heroes got on well but unfortunately that's not always the case. Chester's issues with Mike and Tony in 1997 and his issues with Phil in 2010 all seem both unfortunate and unnecessary. I think we all hope that they'd all settle their differences but old men are all pretty entrenched in their points of view and I'm not sure that's ever going to happen.

    I've never really gotten too far into vinyl, though ironically the one album I used to own was And Then There Were Three and I thought it sounded terrible on both vinyl and the original CD for being inexplicably thin-sounding yet cluttered at the same time. The 2007 remix was the first time that particular album was anywhere near the same sonic quality as the rest of the catalog in my opinion...


    I'll also add that I'm glad that there are so many options for people to collect and versions to prefer. Every format and every version brings something different to the table and offers some subtle and not so subtle variations on every album.

    I'm wondering why the Black Box (Live 1973-2007) is the most expensive at over $1000 USD while all the other four (that I already have had for years) are all selling for under $400 each.


    If I recall correctly, the bonus CD on the Black box is a Rainbow theater concert in London and all the rest are easy to find individually online. But, I do have that Rainbow concert bootleg that is not pristine audio but sounds ok. Sometimes you make bad decisions out of conformity and end up being sorry you did.


    My guess is that the black box was last, and probably produced in the fewest numbers. Often times in situations like these it isn't the content but the scarcity that is driving prices on the secondary market.


    That said, the content on the black box is great. The live album remixes were a significant upgrade (Seconds Out especially) and I think both Rainbow and The Way We Walk sound better with less of the overdubs that were present on the original releases.

    I chose:


    Lorenzo

    It's In Your Eyes

    The Same Moon


    Back when the remasters came out I spent a couple weeks re-listening to each album over and over. While back at the time of it's original release I liked Dance Into The Light a lot because it was a lot more upbeat than Both Sides. Upon re-examination I feel like this one fell down to (perhaps) the bottom of my PC album list.


    Where Both Sides had great songs let down by Phil's overreliance on synthesizers, "Dance" had a great band let down by a lot of underdeveloped ideas. I know Phil has always gone from demo to finished product quickly, this was the first album where I feel like many of the songs needed a little more work.

    I totally agree that a second album would almost certainly have been an improvement.


    I also really (really!) wish Mike and Tony had chosen to re-record all of the songs on Calling All Stations once they had hired all of the musicians that played on the album. Making everyone just overdub on top of the duo's demos led to the album feeling a bit stiff and flat. Had they gone back to five guys playing in a room together I think those songs would have taken on a bit more life.

    I've seen Abacab play numerous times, and they really are top notch! They all love the music, and it really shows in how faithfully they play. They also play a really wide range of material, from the really early material, the big hits, a few solo songs, and some deep cuts Genesis never performed on stage.

    What was the Three Sides Live film originally filmed with? Also: What was the original format of that Genesis Bataclan 4K remaster that has been floating around lately? I can't imagine that having been filmed with something other than standard def video (as it was in 1973), and that release looks amazing! IMO if such a thing could be done with THAT release, I don't see why ones that are decades newer couldn't also...?

    The older footage was shot on film, not tape. Film has a lot of extra "resolution" when compared to digital formats, so even an 8K scan of something shot on 35mm film is still reducing the possible visual information.


    By the early 90s a lot of recording was done on standard def video tape because it was cheaper and even DVD-level hi def wasn't really being considered very much. Which sadly means things like Serious Hits, The Way We Walk (and Pink Floyd's Pulse) aren't capable of getting a true HD video release.


    One release that (sorta) sidestepped that problem is Secret World, which was shot on film, but 16mm, so that's also why the Bluray is grainy AF, because 16mm film really doesn't hold up well either when remastered into hi def...

    I believe the problem with The Mama Tour is they don't have access to the original camera film, only the videotape master, which would impossible to get an actual HD product from.


    The Invisible Touch Tour was filmed on HD video tape, which allowed (once they found a vintage machine to read the tape) an HD video source to work with. If they made a new digital master when they transferred the tape for the white box set a BluRay would be possible.


    As far as I know the problem with The Way We Walk and Serious Hits Live is they were filmed on standard definition video tape, so there is no way to get a true HD video from the original footage. In these days of AI upscaling I suppose anything might be possible, but someone would have to be monetarily interested in taking on the work.

    Why would his being impressed by Zeppelin cause him to step away from the project?


    I'm not sure how either, since the Zeppelin reunion hadn't happened at that point in time. I think Peter had already decided against any sort of reunion long before 2007.


    What I'd love to know is what made him even think of bringing the idea up to the rest of them in the first place? From the way they all tell it Peter was the driving force behind them meeting up, and had he not seemed sincere I don't think the rest of them would have agreed to meet. And yet he seemed to arrive to the meeting already hesitant.


    I wasn't there, and I don't know any of them personally, but when Phil describes the meeting as being very strange, you can't help but believe it was indeed strange...

    Here is a message from author Mark Bell:



    Mark Bell is currently looking for an English native speaker to check his translation of the Foxtrot-Book. It's rather about style and wording than spelling. Ideal would - for instance be - an (active or retired) English teacher.

    In case you are interested (or know someone who might be interested) you can directly get in contact with Mark via albumage@posteo.de


    That sounds awesome! I'm working my way through the Lamb book and it's slow going because the text is often awkward, most likely due to the quality of the translation.

    Maybe I don't...quite get what you're getting at, but I think I hear that sound in tracks like Silver Rainbow, Tonight, Tonight, Tonight, and Fading Lights. On the Shoreline is another (non-album, admittedly) that I think fits squarely into the fantasy/obtuse realm lyrically.


    I think the sounds they used changed as technology changed (digital synths and electronic drums) which might alter the perception of the songs but I think the spirit of Genesis presenting a degree of fantasy both lyrically and (especially) musically was present throughout their entire history.


    I think the ratios changed, and it's tough to argue that Wind and Wuthering was the last REALLY pastoral album they made, but even that one was a bit of an outlier when you look at what came before and after.