I gave it a 12. I enjoy it everytime I put it on, but it's definitely not among my favorites.
It's a great, quirky (and VERY GENESIS) storyline/lyrics, and I do enjoy Phil's drums on this one along w/Tony's creative keyboard uses here. Not to mention that ending 'jam session' is great, and although oft-forgotten, IMO among Genesis' best 'instrumental sections/fades.'
11 from me...good but could've been produced better.
It's a great groove, but IMO Peter's vocals are so all over the place performance-wise that it's hard to not only understand what he's saying, but to find enjoyment in it overall when it sounds like PG was flat drunk while recording the vocals, and didn't have time for another take. For the life of him, he just...couldn't lock into a tone on this one, the way he did on SO many others. It could've been a great song. I KNOW some may argue, 'that was just his artistic choice in how he portrayed the vocals in a chaotic way,' but that doesn't mean it sounded good LOL! IMO the PLAYS LIVE version is worlds better, since PG sings it much better there-IMO THAT is how the recording should've sounded.
I noticed that too - only $46 on Amazon US. I would actually get it for that price! (Makes me kind of pissed actually, cos I had to spend a bit more than that, just to get the album itself!)
I only wish I knew if they were planning on doing a release of this type for ALL of his albums. I'm a bit of a completist, so I wouldn't enjoy just having one out of all his calalogue-but if this is meant to be part of a series, then I'll go for it!
Still love this song. I prefer the Darkside version but it's one of my favorite "piano-centric" PG songs.
13 for me. Not my favorite from PG era, but I do very much enjoy it when I listen.
I have always said that this single song could very effectively represent to someone who doesn't know the band what PG era Genesis is all about.
I actually have a lyric-related question, and IMO this is as appropriate a thread as any for it; Towards the end of the bridge section of On the Shoreline, Phil sings a lyric that I can't discern:
"I don't know what it is I'm looking for,
and until it's found I _________________."
What goes in the blank there? Is it "won't be sure?" or is it "won't leave shore?" I prefer the latter actually, cos it's very fitting with the theme of the song-not having the confidence to sail out into the unknown until he knows why...
It’s what, 80 odd mins long? Is it nobody’s job to listen to it before they print loads of copies? I’d do it!
At the very least, with today's technology, I'd have thought they would run it thru some sort of software that checks for any irregularities-distortion, blemishes, pitch errors, etc. Kind of a musical 'spell check' if you will. At least rather than having to go thru and pick it out by ear.
K
So, watching that video clip above was the FIRST time I'd heard that song (I never really listened to Ray's solo stuff). I figured Heck, I'll give it a try!
14!!!!!!
Man what a beautiful song! I loved it instantly! And such nostalgic lyrics-right where I'm at in my own life, thinking back to all those things....this one hit me.
I think this version sounds great. The vocals are clearer than the 2007 remix, the low range is way deeper and opened up-you can hear so much going on down there now! There's also more detail to be heard-the rock organ (which in past versions was always buried) is much clearer and more noticeable now, and once that beautiful bass pedal comes in during the last verse "Burn it to ASH!" all of the sound from then on is so full and rich, due to the wider soundscape and better instrument separation. That section just used to sound busy and loud before, but now it sounds deep and powerful!
I don't imagine The Veil would be included in o/i personally for a couple reasons: Firstly because of how old it is and how much exposure it already had, and secondly because by ALL definitions, it was already officially released, on all digital platforms, the Snowden soundtrack as well as on Flotsam and Jetsam.
It seems odd that PG would include a song on a new album which he had already officially released a decade before.
Although if he did a re-recording or at the least a remix of the song, then I could understand including it. But I'd be okay if he left it off, cos I'm not a huge fan.
In the "rearrange a Genesis album" thread I did include both, though my opinion of the two tracks is the opposite of yours and many here.
But meanwhile I'm going nuts trying to work out what's the other instrumental on Duke apart from End.
Well I count Duke's Travels as an instrumental considering more than 80% of it is without words-and I consider Travels and End as two separate pieces, since their moods are different and the fact that the band chose to tracklist them separately.
Kind of how I would also count 2nd Home by the Sea an instrumental, despite the single verse at the end-and the fact that it's specifically tracklisted as its own piece so I consider it separate from HBTS.
Technicalities, I'll admit - but honestly I'm just as ready to say "it would be the first album to contain more than one instrumental track since Wind & Wuthering" if that's a more definitive comparison!
14 for me. Although not in my top five of Phil's solo music, it's close. I love the energy of this song-always a crowd pleaser during concerts! I was at Phil's NDY concert here in Denver back in October '19 (man, times were simpler back then-we had NO idea what was coming around the corner!)...And I remember when this song was on, the audience was singing thru the whole song so loud it was actually overpowering all the vocalists on stage. A great moment!
Just a couple of my favorite elements of this song: I love the chord progression, and how Phil's bass drum locks in with Nathan's bass playing during the verses.
15 for me. Love this one-love all the exotic sounds, Phil's creative use of percussion throughout, and it's a properly quirky way to end off the IT record.
Personally given the choice between Brazilian and Do the Neurotic, I'd choose DTN every time-IMO that one stands right alongside all their other great instrumentals. I feel that if they put DTN to close IT instead of Brazilian, it would've fit great on the album as it shares lots of the same sounds several of the other songs on there do-but IMO it would've been almost 'too safe' of a choice, if you know what I mean. I like that they chose Brazilian instead BECAUSE of the fact that it's different from anything on the album-different, but not TOO different.
In a perfect world of course, I'd have put both on there-that would've meant it'd be the first album to feature two instrumental pieces since Duke!
This IMO is what the 2007 remix should've sounded like. I do like this one better, simply cos each of the instruments are clearly audible-most notably the guitars in the left channel and keyboards in the right. In the remix these sound subdued, and almost blended-which sounds ok but it detracts from the original intended feel of the song. This remaster basically keeps all the clarity, punch and wider soundscape the 2007 remix gave it, but created more clarity and instrument separation, and kept the analog feel of the original.
I am at odds on this point-but I do personally feel the drums sound a bit better on the 2007 remix. But I think that's simply due to the remixing process, and the remaster is from the original tape. Still not a big deal tho.
I'm really hoping this is available separately for purchase-it'd be a shame if this beautiful remaster is only available in the boxset. Unfortunately such a thing is beyond my $$$ range...
11/15 - would be an average track without the instrumental ending...
Agreed-the instrumental more or less makes it what it is. WIthout that, the song would still be enjoyable, but IMO would risk becoming forgettable.
Super excited this has finally been 'announced.' I imagine the album to at least sound like i/o, considering apparently some of the tracklist will be songs from those sessions. Now the question is: WHEN?
Is it too much wishful thinking to hope for a 2026 release? He is in his mid 70's after all...although he has proved he can clearly sing well and move around a lot still, the fact remains he's not getting any younger...that point is really the only thing that gives me hope that we'll see this in the next one to three years.
13 for me.
I feel like I need to be wary these days stating my opinions on here, but #@?! it here I go.
I do really enjoy this one. I guess the only single issue I have is that it starts a bit slow for me. Now that I think of it, several of the songs on WCD do, actually: Dreaming While You Sleep, Driving The Last Spike, HOMH...I love this album and most of the songs, but still-several of the songs on this album have rather elaborate intros and require some commitment before the song finally 'gets going.'
ANYWHOO...despite the above, I actually really do like this song-like, not love. I enjoy the lyrics a lot-satirical remarks about how no one knows what's truly necessary to be healthy these days-perhaps some of my favorite lyrics/subject matter on WCD actually. Nice melody, the refrain is catchy, and reminds me of something the Beatles might have done for some reason. Then of course there's the coup de grace: The wonderful-and very Genesis-instrumental jam at the end! EVERY time I hear it come on, I have to stop what I'm doing, and I get immersed into all the sounds and melodies-Tony's keyboarding, Mike's funky muted guitar strumming, his bass guitar which almost has a melody of its own-all supported by a bright and bouncy beat from Phil's drums. IMO one of Genesis best instrumentals-at least since Abacab onward.
Lastly, as an afterthought really I suppose-I quite enjoy listening to this song in 5.1 surround. IMO it was one of the songs that were mixed really well, with all the sounds cleverly placed across the channels.
IDK...maybe I should've gone with a higher rating?? Either way, I'm def spinning WCD tonight now!
PS. For the record I feel perfectly calm. This is just how I write. 
The title track is one of my favourites of his. The mandolin, that martial snare section with bagpipe-y synths, James Taylor's smooth harmony.
This is a nice live version with James Taylor and Sheryl Crow on accordion (low quality unfortunately).:
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.
That was a fun watch-thanks for sharing!
I like this Rushmore idea!
I agree that SEBTP, Lamb and Trick are great options (ironically also sequentially released albums LOL), but I might actually replace Lamb with Trick, and Trick with Duke. I also do agree with Backdrifter in putting IT in spot #4, if only for its significance to the band's success and/or perhaps to represent their presence and style in the 80's. So the way I'd go would look like:
SEBTP, ATOTT, Duke, IT
Although not my personal "top 4," I think the reason I like that lineup is cos to me it most effectively represents the entirety of their catalogue across all eras in terms of style and success. If I were to pick four albums to show someone who's never heard of them "what Genesis is all about," those are probably the four albums I'd pick to represent them as a whole.
At the end of the day, one could arrange these with a few different options, really just depending on what criteria is followed in the choosing.
Hahaha! You did indeed "suppose" that.
Happy to have provided insight into your unknown inner feelings. Any time
