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This one's tough because of having Unquiet Slumbers, In That Quiet Earth and Afterglow broken up.
In the end I ended up with just In That Quiet Earth, with Blood on the Rooftops and Eleventh Earl of Mar keeping it company.
In my mind choosing favorite "tracks" from Wind and Wuthering is harder than a lot of Genesis albums because I rank W&W highly because of how well it works as as an album. To me this one is much greater than the sum of its parts...
Thanks, Christian. I thought Phil used backing singers on Burn Down The Mission? Evidently not...
On the subject of that song - and please forgive the tangent - I remember seeing a picture on the LP sleeve of ...But Seriously that clearly showed Burn Down The Mission as being one of the songs recorded for that album. Given that it then showed up on the Two Rooms album, I wonder if Phil recorded it specifically for the Elton John tribute or that it was just coincidence that he'd recorded a version of the song and then got asked if he wanted to contribute it to that album.
I hear the backing singers pretty clearly on Burn Down The Mission, so I'd assume that leaving them off that musician listing was an oversight.
I'd also assume that Phil recorded Burn Down The Mission with the tribute album specifically in mind. I don't know when the Two Rooms project started to come together but I'd guess a project like that probably has a fairly long lead time, especially since you don't know how long it takes to get tracks back from the artists that were asked.
I think if it had been "just" an extra leftover song it surely would have been released in some other fashion long before Two Rooms was released.
Was Hanover the gig where they opened with the swing arrangement of I Don't Care Anymore?
When I saw the Both Sides tour Phil opened with I Don't Care Anymore, but it was the standard arrangement. I don't think Phil started doing the big band stuff until 96, and those were their own self-contained big band tours.
For me it's Burning Rope, Follow You, Follow me, and Many Too Many.
I don't know what it is about this album, but it has never clicked for me. I'm not sure if it's the songs, the arrangements, or the sound of the production, but I've always had a hard time getting into this one.
The Shrine isn't missing the last part, its been on bootleg a fraction longer than the official release.
Were the bootlegs from the same multitrack source as Archive 1? If so, why go to the trouble of remixing the studio track and also not include the encore? I'm not doubting, I'm just generally ignorant about a lot of these kinds of details.
I thought I heard another multitrack recording of a different Lamb concert had surfaced since Archive 1 was released? Perhaps THAT show could be remixed and included?
The overdubs on the Shrine recording don't really bother me and I still enjoy listening to that show quite a bit but it would be nice to have another option, hopefully one that doesn't have overdubs and contains a live recording of IT.
I went for Duchess, Cul-De-Sac, and Duke's Travels.
I love this album with a passion. The first two choices picked themselves i.e. Abacab & Dodo/Lurker. Then it was either No Reply At All or Me & Sarah Jane - I chose the latter.
My exact feelings and choices!
... nevertheless, interesting to see that pt1 of HBTS seems to be more popular than pt2 ...?
I'm not terribly surprised. The studio version isn't particularly exciting, and while it makes the whole of Home By The Sea more interesting, it simply isn't as strong or engaging as the first half of the song.
I can now add October 7 2018 and September 29 2019 to my list!
I decided to pop back in and I'm kinda surprised my picks haven't changed. Selling England by the Pound, Duke, and The Lamb Lies Down on Broadway.
When I first posted a year and a half ago I mentioned that A Trick of the Tail might be my number 3 on a different day, but I'm still keeping The Lamb right where it is. I've been listening to The Lamb a lot recently, and I'm always amazed by how incredible that album is.
Driving The Last Spike is easily my favorite song on the album, with Dreaming While You Sleep and No Son of Mine being my other two picks. Fading Lights made the choice difficult, but today No Son takes the bronze.
I chose Not About Us, One Man's Fool, and The Dividing Line.
I almost picked Congo, because it has a catchy hook, but the extended drum breaks (surprisingly something Genesis never rarely did on an album) on The Dividing Line won me over in the end.
I really like Not About Us, and it stands out to me because it's a little atypical for Genesis, and it's also a concise, well-crafted song, which is atypical for this album. One Man's Fool strikes me as this album's "late-era long song" in the style of Home By The Sea/Domino/Driving The Last Spike and while it isn't quite as good as any of those it still seems one of the most Genesis-sounding songs on the album.
I'm really excited to see The Lamb tour again. That show was my first experience with The Musical Box and after a seemingly endless run of the Selling England tour I've been extremely pleased by the current Extravaganza shows, and returning to The Lamb is something I'm really looking forward to.
I agree. IF Supper's Ready had been broken into its individual songs it's almost certain those parts would have been developed more and may have ended up much different. Likewise based on the bend's own comments many of the songs that contributed to the Duke Suite would have been fleeting moments of connective tissue, not the fully fleshed-out songs we know.
I enjoy the "what if" aspect of the original question, but I just think that they're too dissimilar in their finished form to make a real comparison.
It's probably my favorite song on the album. I also really like the instrumental section. Yes, there's a lot going on, but it's those layers that make it so compelling.
This one (like the rest of the songs, really) really benefited from the remix. There are a lot of little bits throughout the song that really pop out now but were buried in the original mix.
Several years ago I made Testify the car CD for a couple weeks straight because I never really gave it a fair shake when it came out.
After spending a lot of time with it I thought it rated a lot higher than I thought it would, and for me I like it a lot more than Dance Into The Light now.
There is an unfortunate same-ness to some of the tracks in his use of drum machines and sequencers that hurts the overall album feel, but individually I think the songs are pretty good.
I chose Face Value as my #1. But Seriously was my second choice but another day it could just as easily been Both Sides.
I love FV for the variety; there really is a little bit of everything else Phil ever did all on this one album.
But Seriously has some really great songs, and the band is so clean and tight but it's all so much more organic-sounding that No Jacket Required. In the end that's what pushes But Seriously to number two; Both Sides has some really good songwriting but it's held back by the synths. Those songs recorded with a real band would have been amazing, as the live versions illustrate.
Yes, I really think this is a great show and well worth checking out. Especially if you've seen them before.
After the last couple of Selling England shows I thought they were starting to phone it in a bit. It's a great show, but there's no way you can keep playing that over and over again and it not get a bit stale.
By contrast, they were all really on fire at the show I saw. Also, not being constrained to mimic a particular show allowed all of them (lead singer especially) to play parts that would have otherwise simply been missing in a live context but having those extra bass/keyboard/percussion bits helped them reproduce the songs even more exactly than usual.
The musicianship and the showmanship is still there, it's just a little different this time.
I totally agree with OneForTheVine; this is a fantastic show!
Being able to step out of the confines of performing an exact replica of a particular tour gave them the chance to breathe a little more life into the performances. As already mentioned getting to hear so many super rare songs was a real treat, and I felt the sincerity was very clear.
I felt this was show was what Genesis would have played in 1977 if (in some bizarro world) Peter Gabriel had never left the band.
