Posts by WinstonWolf

They dropped it after the Tampa gig, which was cut short due to Phil's voice giving out two songs in.

For their live peak I'd have to say the Mama Tour. There's a confidence and an effortlessness from everyone on stage that makes that period stand out to me. There's a lot of energy coming off of those Duke and Abacab shows but it's a little wild and unfocused at times.

Songwriting is a little harder to judge. Looking back it seems like each era ramped up and once it hit a climax something changed and they went in another direction.

Trespass

Trick of the Tail

Wind and Wuthering

Duke

We Can't Dance

One of the items offered as a part of the top VIP tour package includes an opportunity to win a keychain made from a piece of a cymbal from Phil's tour rehearsal drumset.

I welcome the extra singers. There have always been a lot of backing and harmony vocals on the albums, but those have mostly gone ignored in a live setting.

I'm not trying to make excuses, but when you consider how many bands even get to a 14th album, the fact that the album had several really solid songs, and several big radio hits speaks a lot.

Charlotte for sure. I would have picked DC (saw them there is 2007) but Charlotte is closer, and everything else involved is a lot cheaper.

Of course, if that rumor of a second DC show on the 19th actually happens...

I was aware of Genesis from around '82-83, but didn't buy an album until Invisible Touch, when I was 11 years old. After that (most likely spurred on by MTV's near constant playing of Genesis/related videos, the Mama Tour video, and their documentary) I began delving back into the back catalog in a fairly haphazard fashion. I think Three Sides Live, Trick of the Tail and Wind and Wuthering were my next few purchases.

I liked all of what I was hearing so I kept buying more albums, and finally getting into the pre-'75 stuff. Already knowing Three Sides Live and The Mama Tour helped make the older albums a smoother transition for me, but by then I was hooked and I knew I wanted everything they'd put out. By the time We Can't Dance was released I did own all of their albums and Genesis was firmly cemented as my favorite band.

If you started earlier it might be hard to imagine, but I'm sure there are plenty of fans that got hooked by Invisible Touch or We Can't Dance (or So or But Seriously) that appreciate the early era or obscure songs just as much as the later albums, if not more.

As far as the new tour goes, I have no doubt about (and no problem with) the setlist being drawn from mostly later-era songs. I'm sure there will be a few surprises, but my expectations are tempered by reality.

Even if they forego the actual box, I'd love to see the surround mixes re-released for those that didn't get them the first time around. It's hard to believe it's been 12-13 years since those sets came out, so I don't think any complaints of "double dipping" would be particularly valid.

I think the biggest stumbling block is that there still isn't a truly agreed upon audiophile format, so choosing one is going to limit sales potential. There was a lot of push back in 2007 from folks that didn't have 5.1 home theater systems. DVD-A was dismissed as inferior because Europe got SACD. But SACD is an even smaller niche market than it was, and it seems (based on more recent audio releases) that 5.1 in a totally audio format isn't very popular anymore. Now that vinyl is seeing a big resurgence it splits the audiophile market even more.

MP3 is easy and it pleases the masses because it is able to go where the listener goes. None of the hi rez formats do that well, they're all dependent on equipment and that limits how the consumer will consume it.

It seems like Genesis is trying to build up some momentum with the impending tour but I fear it might be a bit of an uphill climb to convince the record company to get on board such a large project.

Quote from Witchwood

Stagnation was always my favourite song off the album and it would probably be in my Top 10 overall for Genesis.

In my teens, I thought The Knife was a powerful track and one of their best songs.

40 years later, I think within the context of the album, it's still a powerful track and I still get an adrenaline rush from the intro.

But that thrill doesn't last and I find overall I actually prefer the five other tracks on the album.

Aside from Stagnation, I chose Dusk and Visions Of Angels.

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Even though I still chose The Knife, I almost didn't. I feel like it's the standout track on the album, though not entirely in the positive way. The other five songs all contribute to creating a more cohesive vibe on an album whose greatest strength might be the mood it has. The Knife doesn't fit with the rest quite as neatly, though it makes for a great album closer, and it is still undoubtedly a strong song.

I chose White Mountain, Stagnation, and The Knife.

I like all three songs, though I think that because of the running time limitations they chose the right songs to include and exclude from Wind and Wuthering.

I'm not saying "new" means recorded in 2007, but Nick clearly put some parts of the songs together differently in the remix than they were originally. Mama's outro is clearly longer and different than the original album version. Same with Anything She Does. Longer. Different vocals. The Way We Walk and Genesis Live are different because Nick didn't use all of the overdubs used on the original releases. Trespass has drums that were never there on the original version.

You're welcome to continue being contrary, but that ditch you speak of is only big enough for you.

Quote from StillCan'tDance

Nothing new was added to the new mixes. Everything you hear was already on the tapes in the first place.

That's simply not correct. Mama is a different edit. Anything She Does is a different edit. Several songs on The Way We Walk and Genesis Live use different/fewer overdubs. There's a song on Trespass that has a drum part included that was never there on the original release. There were several times throughout the remixing where Nick Davis used different elements that are clearly not just "lifting the veil" of a muddy original mix.

I'm struggling to remember if the issue with the longer version of It's Gonna Get Better was ever addressed by Nick Davis.

Considering how many other songs in the remix project got new parts added in I don't believe the shorter IGGB was an artistic decision, especially since the longer version was how they performed the song live. I just don't remember if anyone asked Nick or if he ever answered.

I gave my error discs away to a friend, so I don't remember for sure what the problem was, but I do recall it was fairly minor.

I think the 5.1 Seconds Out sounds amazing, and the new stereo mix is really good as well.

I don't really see the "loud concert" comment as a problem for me. I'd always felt that the original mix of Seconds Out was way too polite sounding and the new mix added some power where it needed it. I don't think it sounds loud for the sake of just being loud, I think it sounds live...

There was an error in the pressing of the original stereo CD's and Rhino offered corrected replacements. I think there was a track index in the wrong place.

I think Phil has expressed having problems with the lyrics in the past, but I think (unlike many guys his age) he's getting a lot more mellow about some things that used to bother him more.

I also think that's a song he could sing pretty easily, and it's what, 3 minutes long?

Seems like an easy win for everyone to me. We get an unplayed song, Tony gets a song he likes, Phil has a song that should be easy to perform.

Quote from StillCan'tDance

That might have been more to do with the album being mastered by Bob Ludwig than the actual production. Hugh Padgham had been working with the band since Abacab but - as far as I know - Invisible Touch was the only album which they passed it on to an outside source to do the mastering. Bob Ludwig is something of a legend in the music business.

Separating the production/mixing from the mastering is probably a little more complicated than making it an either/or situation, but I agree that the problem with Invisible Touch's overall sound probably falls on the mastering to a greater degree.

I believe the problem of a bass-lite sound has to do with in the early days of compact disc the recording industry often used the same masters made for vinyl for CD, and vinyl needs a mix with less bass because it interferes with groove depth.