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I often wonder if making the album seem "more prog" might have been as simple as beginning with Tonight, Tonight, Tonight instead of Invisible Touch...
For my own playlists I usually keep all of the songs and just slot in the non-album tracks where I think they'd disrupt the flow the least. In general I trust the band's track order choices (Duke and Genesis being my personal exceptions) but I'm so used to the original running I try not to disrupt that too much.
When I set up my album playlists I also kept Land of Confusion pretty far apart from Feeding the Fire, due to the lyrical similarity. I still think of these albums in "sides" so I also enjoy your symmetry of ending each side with an instrumental.
I like the ballads, but just as importantly I think they provide a better balance to the album.
I was just listening to Mama from When In Rome last night and I agree completely. The new key gave an extra bit of darkness to the song that I really like.
I agree it's most likely a splice from two different nights video. I wonder if Phil goofed up the lyrics 'cause right before the crossfade he has that look like he's thinking...
Dancing With The Moonlit Knight, Firth of Fifth, and Cinema Show for me. Probably not surprising choices, but the only debate I had was possibly choosing Battle of Epping Forest in place of Moonlit Knight. In the end I chose Moonlit Knight because I think makes a stronger statement overall and it's a hell of a way to open an album.
I've always been partial to the Mama Tour video. They weren't cutting the ending short yet and I feel like Phil isn't having to push as hard to get the vocals out.
If any Genesis tribute could play "Man Of Our Times" I'd forever be in their debt. Sadly, I don't think any have.
Abacab, which is a Charlotte NC-based band is working on the album in its entirety. They played the Duke Suite at their show last month.
The official reason quoted at the time was that the tape ran out on the night.
If that's true, I can imagine the scenario... The recording engineer, being told the album was 90 minutes long, brings with him "plenty" of tape to record the show. Then, during the show, realizes to his horror that the singer's between song talk is awfully long... 
Favorites: Duke, Wind and Wuthering, We Can't Dance.
Least favorite: And Then There Were Three.
So upset that they decided not to come to Wales, tour everywhere else in Britain but two fingers up to Wales, thanks for nothing, absolutely gutted.
I guess it's all about perspective. When Genesis toured in 2007 the closest show was a six hour drive for me, and I usually travel nine hours for most of the Steve Hackett and Musical Box shows I've been to. My sense of British geography isn't great, but it seems all 15 shows in this entire UK tour could fit into that same 9-hour driving radius... Obviously affording tickets to all of them would be an entirely different matter...
The Lamb Lies Down on Broadway, In The Cage, Back in NYC, Chamber of 32 Doors, The Lamia, and The Colony of Slippermen were my choices.
Having 6 slots to fill made it a little easier to choose without feeling like I was slighting other great songs, but it's still tough.
I think The Lamb's greatest strength is the way the interludes blend things together. The album is truly greater than the sum of the parts, pun intended.
For the purposes of a poll like this they're hard to choose, but I think Ravine and Silent Sorrow in Empty Boats are some of the moodiest and most evocative music Genesis ever recorded, and they're the two tracks I listen to out of context the most.
I have no doubts Nic is going to be great with this. He's been great on Phil's solo tours.
The real surprise for me is Phil planning on doing any drumming at all. I'd be perfectly satisfied even if he didn't play, but I'm pleased he's even considering it since I think that implies he's physically feeling a bit better.
I think North American dates must be coming at some point I just hope the mad dash for seats won't be too brutal...
I think it will play to their (current) strengths, and should hopefully discourage trying to compare current Genesis with the past too much.
I also think new arrangements of old songs is the closest we're likely to get to new material, in spite of how much I'd love to hear them create music together again.
I would love to see an acoustic-type show.
Display MoreAs the votes for this one otherwise seem to remain in anonymity, I'll own up:
the way too obvious TIOA
the horrible Misunderstanding
HeathaZZZZZZZe
All in all, Duke is one of my least favourite Genesis albums. I blame it completely on the production. If only they had stripped down their sound one album earlier.
I agree Duke's production is messy but I still rate it higher than ...And Then There Were Three..., which is their worst-sounding album, production-wise for me.
I think the 2007 remix helped Duke not sound so muddy, but the squashed dynamics introduced more problems than it solved IMO.
For me Dance on a "Volvano" and Squonk were easy, but I had a tough time choosing number three between Ripples, Entangled, and Los Endos. Today Los Endos won, but it's hard to choose on an album with so many truly great songs.
I continue to be astounded by the lack of fanfare All In A Mouse's Night gets. Only 4 votes? :O
I like it, but top three makes it pretty cutthroat.
I was already becoming a fan by that point but No Jacket Required was the first new Phil Collins album I bought.
I probably wore out the copy I bought in 1985 and if I didn't it was only because it was pretty easy to hear half of that album on the radio every day for the next five years. At the same time, I was diving deeper and deeper into Phil's (and mostly Genesis') back catalog and really being amazed by the depth of the older stuff.
Because of that, I spent a long time not really listening to NJR very much. I've since revisited it a bit more since the reissues came out, and I like a lot of it a lot more than I remembered. Some of it is still fairly disposable, but there are some great songs on there. Long Long Way To Go is one of my all-time favorite PC songs, and Inside Out is really good too. Because of all the radio play I had forgotten just how good Take Me Home really is. It's still a mixed bag, but I enjoy it a lot more than Dance Into The Light or Testify.
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.
