Posts by Thelawnmower

    8 from me I’m afraid. Fairly lightweight hook and jangly guitars which are pleasant enough but it doesn’t seem to go anywhere and I don’t think it’s one of Phil’s best vocals. To me it’s got B side all over it.

    Despite - or actually probably because -I prefer the earlier band material I prefer Whodunnit, which at least tries to be different and adds something to Abacab, which I don’t think this would have done.

    Good stuff, nice and upbeat, really good drumming, nice and tight, which compliments the excellent horns. I like the backing vocals and also the handclaps (which I think are simulated and I would prefer real ones...). Good little song, well structured. His vocals are really good for the most part, although he sounds a little strained on the louder parts, but I'd need someone with vocal expertise to advise on that one.

    Fair challenge, some ‘live’ drums are probably so treated that they may as well be a machine and I love some of Kraftwerk’s stuff. However, if Cured is anything to go by it doesn’t bode well, which is an album I thought had some good songs, spoiled by Steve’s strained voice and irritating percussion, for me at least. But time has moved on, Steve now sings well and maybe artificial percussion will suit this album, I’ll give it a listen before I judge- which of course I should do anyway. Cheers

    Thought I should put this question in the right place, having mentioned it elsewhere.

    He might just be having a well-earned retirement and good luck to him if he is.

    But we’ve got suggestions of involvement in Cherry Red’s work on FGTR and also something with The Rocking Horse Music Club. I imagine someone with his gifts can’t help but compose so perhaps he still thinks about making classical music.

    But does anyone know of any more snippets or rumours about any of the above?

    Exciting, those early days have a magical feeling to me; even though the music is very embryonic I do enjoy hearing it and it would be good to have different mixes or additional material if there is any.

    Would love to know what input the main players have. If Peter is involved it might take some time! Although I think Cherry Red have had the rights for a while now? So maybe things are nearing completion.

    Wrong thread I know but has anyone heard any more about Tony's involvement with The Rocking Horse Music Club? I'm guessing he's going to guest on one track but would be good if it was more than that.

    Never apologise, never explain, as someone with a bit more wisdom than me used to say. I prefer the 4 and 5 man eras but I unapologetically like Whodunnit. As I said previously this is a little gem, all the better for not being fully polished. On a later album this might have been lost to tinkering or embellishment.

    Love it. Charming, folksy, untutored effort which I’ve always looked forward to hearing when about to play the album. I like the introduction and the mellotron sounds. Also a really nice contrast to the drama of Salmalcis and The Musical Box. I thinks it’s improved by being a little amateurish in places and one of my favourite parts is the interplay between the keyboards and flute.13

    Studio by a wide margin,

    I would have liked a beefier sound on the album (only for this track, I like the rest as it is) a bit like Glyn Johns achieved for the Who on Who’s Next, then it would have justified the working title ‘Bonzo’ for this track. You’d expect live versions to achieve that but they never quite do. I did like Chester’s slightly marching drum motif at the very end of the SO version, but other than that I always pick the studio version. Sometimes I think it’s a verse too long but there’s a story to be told.

    I was never keen on the live Lamb Lies Down on Broadway with Phil singing and Chester drumming. I’m thinking mainly of Seconds out but also some bootleg versions. I liked the fireside version on the last tour but previously Phil seemed to throw in some in some slightly silly bits like ‘down down down’ which irritates me and for once Chester’s drumming sounds a bit lumpen compared to the driving force of the studio album drumming.

    Phil’s little vocal additions are even worse on the live ‘It’ from Three sides live, which is s shame because the rest of the band play really well.

    M&SJ is also a favourite of mine from Abacab, I enjoyed seeing seeing them do it live but when I listen to live recordings it does miss the sophistication of the studio version and suffered from the stripped down live sound of the five of them. Mostly though I think they do really well transferring stuff to stage and seemed to get better at that as they aged.

    11 from me. It’s a classy little pop song. Interestingly - and I hadn’t thought much about it until I read this comment

    Misunderstanding has about as much swing to it as a metronome.

    ..when I play along to Duke on my drum kit I always enjoy Misunderstanding because it’s nice and easy and it does swing a little bit on the fills, e.g. just before ‘well I’ve been waiting’, which is classic Phil (no pun intended) - starts simply and has a little flash at the very end. However, I’ve realised that I’m unconsciously trying to swing that even more, and it’s very easy to do - which makes me think he deliberately held it back and kept it simple. I’m sure he’s got it right and not me! Chester also played it straight, whereas he tended to swing things little bit when he could.

    I agree with Backdrifter that the live versions were lacking and that added vocal bit seemed to miss the point. Why write a nice simple pop song and the extend it with needless clutter? - that was certainly not classy.

    I really like the backing vocals as well.

    I generally like my Genesis long and complicated- but if they are going to do short pop songs, this is pretty good.

    Incidentally, and I know this is 'listening' as opposed to 'watching' - but BBC Sounds have some great Who audio dramas at the moment. I especially enjoyed the one with the 4th and 10th/14th Doctors, great to hear Tom Baker in the role again and there was some really good interplay between him and Tennant

    Did you or any child really hide behind settees? (Excellent use of a very 70s word there by the way). Ours was pushed almost to the wall so even allowing for the smallness of a young child it would have been a squeeze. Did everyone else apart from us have their settees in the middle of the room?!

    Being brought up in Birmingham we always called them settees, as opposed to sofa - which I always thought was posh but I know realise is a geographical thing, or even couch, which I would have said was American until I worked in Liverpool. Anyway, our living room would not manage anything in the middle as it was too small, so all the furniture was pushed back, so no hiding from Daleks for me, I had to squeeze between my mum and nan if I was scared.


    Just watched Inferno, Jon Pertwee's Doctor Who.

    I think Perwtee did a great job in Doctor Who, I think he was brought in to provide a bit of comedy, which was his existing persona, but turned out to be one of the most serious and heroic doctors. I get the feeling the actors in those days had quite a lot of influence in the development of the character, whereas now they seem to have less room for manoeuvre, with the writers and 'showrunners' determining the course of direction.

    I’ll have to go back to pick out tracks from this as it’s many years since I played it. When it came out I was working in a school which was presenting a production on the crucifixion. Always keen to get Genesis in wherever possible we used bits of ‘Passion’ to generate dance pieces which performed in silhouette behind a large screen. It really brought home how powerful the music was and how it fitted the story so well and the youngsters loved it.

    A good solid track from a very good album. I’ve found his last few albums hard work, as have a lot of folk here. But this one is something of a return to the glory years and I’ve played it over and over - something I’ve not done with Steve’s work for a while, apart from the reissue of Guitar Noir.

    This is one of the longer tracks on the album. There are better tracks, but this one feels more complete as a stand alone track, some of the others are link passages as part of the story.

    I think this one works well, harnessing Steve’s power and dexterity to a decent melody and fairly traditional song structure with a bit of a hook. Nad sounds good and it’s a confident piece all round. If folk haven’t given this album a chance I’d really recommend it.

    yes, amongst the wobbly sets and endless running backwards and forwards, the Classic 'Who' has a lot going for it. Like Backdrifter I remember Troughton a bit, went through the Pertwee years (largely grounded on earth, a serious, heroic doctor, quirky electronic soundtracks, lots of time in a quarry) and tailed off during Tom Baker's stint as I grew older.

    Great that its back, with all the ups and downs of the new era. I was really looking forward to Jodie Whittaker's take on the role, as I think she's a superb actor, but was dismayed that they reduced the first female doctor (leaving aside Jo Martin and the Comic relief sketches) to a giddy schoolgirl for the most part. She deserved better scripts.


    Currently really enjoying Wisting on iplayer and also thought the recent Rebus reboot was first rate.