Posts by Blacksword

    I’m guessing you wouldn’t go for a medley like this then? 😂😂😂

    “Little Nemo rubbed his eyes and got out of bed. Trying hard to piece together a broken dream. His visions lifelike and full of imagination.

    Then comes this monster mouse, he's ten feet tall, with teeth and claws to match. It only took one blow.”

    Yeah, I could muddle through without that...cheers anyway.. :D

    Ha ha! I didn’t expect that! 😂😂 I’ll have to look again at your nominations. Are they really so anti-Banks?

    Musically he's a genius, but I always thought his lyrics could be hit and miss. I listen more to music that lyrics tbh, but if they are particularly good they stand out, just as they do if they are toe curling.

    No. 6.

    Blood On The Rooftops

    I made that comment in reference to "Entangled" but I had at least two more songs in mind when I wrote that, including this one.

    Classical guitar, mellotron, a beautiful melody. What more could I ask for? This is a heavenly piece of music, my favourite track of the post-Gabriel era - which I suppose says something about my t

    Great choice. I love BOTRT. Good lyrcis too, probably because Banks had b*gger all to do with them ;)

    ^^^ Awaken is possibly my favourite Yes song. It has everything a Yes-head could want. It's overblown, mostrously pretentious, earth shaking, speaker blowing, brilliant and beautiful. Love it! I like that album too. Some moan about the muddy production, but apart from the title track, every song is belter IMO.

    Number 6: Firth of Fifth

    I love the original for Bank's piano intro and Gabriel's brilliant vocal performance and I love the live Seconds Out version for its sheer majesty, driven by the drum performance and of course Hacketts beautiful guitar solo, which dspite being somewhat down in the mix, manages to stand proud amid the thundering percussion and waves of keyboards.

    Classic symphonic prog rock from Genesis.

    An interesting point. I don't think there was any sort of appetite amongst their fan base for a song like that but perhaps they were starting to think about branching out. Am I the only one who cannot imagine Peter singing something like that? Interestingly enough Mike referred to W&W as their 'feminine' album,. I wouldn't know about that, although there is, at places, a feeling of blandness or excessive smoothness pervading it imo. I just find funny that his individual contribution is by far the most 'feminine' song on the album, to put it in his terms.

    Yeah, I don't really know what he means by 'feminine' in relation to that album. If he's suggesting that a couple of love songs equates to a more feminine album, then surely ATTWT and Duke would be considered more feminine than W&W.

    I think W&W could be considered more 'prog' than ATOTT It falls into what could be considered symphonic prog rock cliches at times, with the big keyboard chord progressions and 'predictable swirling dynamics' (Tony Bank's words - not mine) I still love it though. Certainly, One for the Vine, EEOM, and Unquiet Slumbers/In that quiet earth are up there with the very best of Genesis for me.

    It's pleasant enough. I don't skip it, but equally it's unremarkable and an obvious attempt to appeal to an audience that didn't like its ears challenged.

    I seem to remember it being used in a TV add for cat food in the lae 70's. Can anyone confirm that??

    W&W has some incredible highs for me, and a couple of lows.

    Embrace it. I'm loving growing older. Yeah sure I'm slower, as has been said things are 'creaking' a bit now, and all that. But I know more stuff, I have more money, I'm not the pillock I was in my 20s (and to an extent 30s). Turning 40 was great fun, 50 not bad too. I'm fortunate enough to be in a nice position, largely down to some hard work and persistence and I now don't have to work all the time and I have a very good life balance. I couldn't have achieved any of that until now, due to accumulating knowledge and experience over the decades. Or, "growing older" as it's better-known.

    I hear ya, but I enjoyed being that pillock back in the day. You can't be a pillock at 50 and if you are, people are somewhat less forgiving of the fact.. ;) Being a pillock is accompanied by ignorance and a lot of fun. These days I can't even eat a doughnut without feeling guilty.

    I can see what you mean by the ghostly atmosphere. You almost make me want to give it another go and perhaps I would if it wasn't a double album and such a heavy slog. It reminds me of the Beatles white album: experimental but ultimately forgettable, imho.

    I'd be interested in hearing why Banks was so critical of it. With one or two exceptions, weren't he and Rutherford responsible for all of the music? Didn't he like what he'd composed or was it the lyrics / storyboard that bothered him?

    Mostly the story and I'm sure I heard him say he didn't like the production job either. It also bothered im that Gabriel took complete control of the lyric writing and story board. He said he liked individual lyrics, but found the overall concept rather weak.

    I have been guilty of that I confess….A couple of decades ago though. Now, as I said I lost any appetite for it. I might still enjoy the debate with someone who is really familiar with the record: meaning he knows the track listing, knows what the story is about, knows the lyrics or at least the gist of it, perhaps the chords, can hum the tunes and perhaps can appreciate the musicianship displayed on it. It hardly happens I found. The point still remains though: 0 interest in defending it, even when it's being trashed and it happens and 0 interest in extolling its virtues which remain many imo.

    To me, the attraction comes mainly from the ghostly atmosphere created by the keyboards and guitars working so well together. The mellotron against those guitar chords on Fly on a windshield. The organ riff, against the driving rhythm on In the Cage, the beautiful piano on The Lamia, the chaos of the Waiting Room.

    The story I'm less interested in, but individual lyrics are some of Gabriels best IMO. I also like the contemporary, although other worldly feel of the album. The fact that is such a departure from SEBTP and ATOTT, makes it sand out in the catalogue as a brave and well executed experiment. There ae mixed feelings about it within the band. Oddly - perhaps - Collins really liked it, but Banks was quite critical.

    Give me three tracks please. I got Fly and the one straight after (4 mins total). I'll give you Cage and if you insist Back in NYC. Hairless Heart. Then what?

    The :Lamb does divide opinion, but I aree with Fabrizio. The music is exceptional on the Lamb. There is some what I would regard as 'filler' mostly on side four, but overall I can't fault any song. My least favourite is probably Cuckoo Cocoon and Anyway (and they're fine) The Lamia and Chamber of 32 Doors are among Gabriel's finest vocal performances IMO.

    The Lamb is a unique album in the Genesis catalogue, and while it may be flawed in places (and I can take or leave the story) it remains a 'flawed masterpiece'