I've been wanting to see them for a while. Looks like I'm going to go for that Scottish Rite show in June...
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 firstname.lastname@example.org
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.
I stopped collection re-editions of any album. We are surely not the target group for this anyway.
Nice to see them back in stock - that's it for me.
Yeah, I'm glad to see these back in print, but I'm only going to re-buy for some kind of sonic change, not just packaging.
I also think they led with their best on pretty much every album.
I also agree that Invisible Touch is probably the one that wasn't perfect, and I would have led with Tonight, Tonight, Tonight. I think it would have set a totally different mood for the whole album that might have helped improve the initial impression a little bit.
The Cage medley from the Mama tour will always be my favourite. The whole thing is perfectly played and ITQE especially, is played with real power. I love watching the footage of that concert. The whole band are on fire and Phil's at the top of his game both singing and drumming.
We Wait And We Wonder
Please Come Out Tonight
This is probably the hardest poll to vote. I often choose the song because I like a melody, or a drum pattern, or a good vibe to it. But ALL of the songs on Both Sides have such deep lyrics this is the album I connected to more strongly for the lyrics than any other.
Which means that only picking three feels like I'm snubbing the others, and I almost only chose ballads, when those tend to be less popular with me on his other albums. On this album the ballads hit a lot harder, and a lot closer to home.
I agree it's unlikely we'll see any unfinished (or refinished) studio bits released, but I'm willing to bet we will see expanded live releases at some point.
While the band has a long history of holding things back in odd ways, we've seen just as often examples of them releasing things in a more complete fashion later on as circumstances change.
Just a couple quick examples are the incomplete Rainbow 1974 on Archive 1 later being offered as a complete show in the black live album box. Similarly, some of the non album tracks left off of Archive 2 due to the band's low opinion of them were later released in the blue box.
Genesis has always been a "never say never" kind of band, and while some of their opinions have stood the test of time they have often changed their minds about certain things.
I really think seeing expanded live albums is going to come down to someone being willing to fund such a project. With new owners wanting new income I think more releases are a question of when rather than if.
No, they started to work on the first Archive set around that time and Peter delivered some new vocals for the Lamb live show. There were some rumors the set might include a new version of CC, but that rumor came later. Eventually this plan was changed and the new CC recording was finally released in 1999.
I don't have precise info when CC was really recorded (I may find evidence, but need to check our old magazines) but that probably happened after the CAS tour.
I recall hearing that the Archive set was going to have the new Carpet Crawlers on it long before Archive 1 was ever released, and I remember being surprised/disappointed when it (finally) came out and wasn't on there.
At one point I had even assumed that it was getting everyone together to re-record Carpet Crawlers that was causing the delay on the first box, since I didn't know at the time the live Lamb show was also getting..."touched up" to the degree it was...
Ah the definitive version of SR for me is on Archive 1!
I find the 1995 vocals a bit jarring at times and (ducks for cover) I like Chester's drumming more than Phil's on this tune.
I've always thought of Seconds Out as being a little too "polite" sounding, but the performances are all stellar and the tracklist is (almost) perfect.
Sure, I would have loved it if they had re-sequenced it into an accurate 1977 show as they did with The Way We Walk, but the 2009 remix really is incredible and did bring a little more energy and much needed clarity to the album.
And I still believe this is the definitive version of Supper's Ready.
1. When did you buy Selling England By The Pound (or have received it as a gift)?
Probably late 80s. I bought them roughly in reverse from Invisible Touch.
2. How old were you when Selling England was released?
3. Was Selling England your first Genesis album? If not, how many Genesis albums did you own before getting Selling??
No. Probably six albums.
4. If you had to rank all Genesis albums, where does Selling England stand?
5. Which track was your favourite when you bought the album?
Dancing With The Moonlit Knight.
6. Which track is your favourite today?
Firth of Fifth for listening, The Battle of Epping Forest for drumming.
7. Which track do you think is the best track on the record despite your own taste?
8. How many versions of the album have you bought / owned? (Vinyl, CD, Remaster, Cassette, SACD etc)
Cassette tape, original mix CD, Definitive Edition Remaster CD, 2007 Stereo remix and 5.1 Surround remix.
I really like the album a lot. It sometimes feels a little lopsided because side one is the side they promoted and performed the most, but my estimation of the side two songs has increased a lot over the years.
The one thing I've never really quite understood is the production of this album. It has always sounded like it was recorded in a closet, very smooth and small.
this may be an unpopular opinion, but i think phil's vocals on 'we can't dance' were a bit... over-expressive, if such a word exists. it seems like he was saying "hey guys, see what a good singer i've become over these years!", and that bothers me a little. no matter who wrote the lyrics to each song from 'we can't dance', phil overacted a little when singing it.
or perhaps it was nick davis's fault for mixing the album with phil's vocals on top and too loud, who knows...
I hear what you're hearing (I think) I've just always come to a different conclusion. I think We Can't Dance was the clearest and most natural-sounding Genesis album since...perhaps A Trick of the Tail? Because of the clarity and the lack of obvious studio effects everything, including Phil's voice, sounds a lot more open and natural, which leads to hearing more of the expression in his voice.
I think that the vocals on We Can't Dance were some of Phil's best (Driving The Last Spike is simply incredible) and I think a lot of that has to do with how transparent the recording/mixing is. Nick Davis' work is outstanding in my opinion, and even at the time I was really impressed by how much better WCD sounded compared to the two albums previous.
My "perfect" assortment uses the 1994 DER's of A Trick of the Tail, Wind and Wuthering, Duke, and Abacab, with the 2007 remixes of Three Sides Live up through Calling All Stations and And Then There Were Three.
I really like the 2007 remixes of Trespass through Selling England by the Pound, and though there are a few errors on Foxtrot that bug me, it's not enough to kick it out of the club. The Foxtrot DER is really good too, in case those problems are too much. Likewise, if the extra drums on Trespass bother you the DER is miles ahead of the original CD version but the same original mix.
I'm currently re-discovering the original CD mix of The Lamb Lies Down on Broadway, so it is my current go-to version. Once again the DER is really good too, and the 2007 remix is nice, but some the changes bug me and this is the one album in the entire catalog I think I prefer the grittier sound of the original mix or the DER more than the pristine sound on the remix.