They could always skip No Son of Mine and I Can't Dance, and add that time to the 15-16 minutes to maybe give us what we all really want.....full length Suppers Ready?!!
We live in hope!!
They could just skip those 2 and improve the show by default! 
Posts by foxfeeder
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Hey Guys. So I started really working my way through Steve’s albums. I have never delved into his discography. Man! What a wild experience! It’s awesome! Started with Voyage of the Acolyte, and have made it part way through Defector so far. His music is mystical, melodic, joyful, creepy, and weird in a wonderful way. I’m still not sure what I’m listening to with some of the songs. The Voice of Necam, I feel like clowns are waiting for me in a closet ready to stab me or something. So creepy. But his music is so atmospheric. What’s going on in Carry on Up the Vicarage? Weird voices singing Deck the Halls? And the voice on Narnia, I was like, is that the lead singer of Foreigner? No, it’s the lead singer of Kansas, such a distinctive voice. How Can I is my favorite song so far, love Richie Havens. His music so far is a wild ride. It’s going to take a second listen to absorb it all.
Welcome to the show! I'm a Steve fan first, Genesis after, so no surprise to me. Some info re your comments:
The Voice of Necam: Necam was the Neve of Croydon Computer Assisted Mixer, Found in lots of top studios back in the day (I got to see the one at BBC Studios in Cardiff) it recorded the fader sequence when you mixed a recording, if you weren't completely happy with the result, you could recreate it but change the bits you wanted. Steve came up with the idea of using it like an automatic Mellotron, as used on the vocal effects on Afterglow. Assign a vocal effect in a different note to each track, and fade them in and outl like playing a keyboard. The album notes credit Vocals: Hackett and Faydor (Fader!)
The weird vocals between Narnia and Vicarage are Automata recorded at a fairground. The main vocals on vicarage are Steve through a harmoniser, one up high, one down low. Please Don't Touch, for me, is probably his best album overall.
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74-75 wasn't it?
It'd be like a loan, you're in debt to the creditor but you have the funds and can use/invest them as you wish.
I'll be honest, I thought it was 77, but you're right. Point being it was LOOOONG before any debt issues the python's had, which cropped up in 2014, I think.
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Why so aggressive?
No i wasn't really joking but I find your reply over the top.
No, charts success doesn't define great music, I still maintain that but we weren't talking about that, were we?
I just made a remark over Tony being possibly jealous of the others' success and you got up in arms because I didn't include Steve.
No, I cannot know but I don't think Tony is envious of Steve's career, again, after all, it's Steve who's playing Tony's music these days, certainly not the other way around.
I even conceded the numbers are in Steve's favor. Numbers are numbers, even unimpressive ones
Troublemakers and good guys? Look at your reply and decide for yourself.
Try to calm down, nothing happened here.
So, I was right, you weren't joking, but I'm the one whose over the top?
And no, I don't buy your "Who? Me?" attitude, about being aggressive. You've pulled that stunt before, at least once on me, and one others. You throw stones, and when someone dares to throw one back, you cry foul.
I've looked. I've decided. I'm not taking the blame for your issues. Again!
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Almost no point haggling over what constitutes a 'hit'. Regardless of whether there's any kind of official definition it means different things to different people. Some will regard it as something they've frequently heard on the radio, or attaining a certain chart level, or an album that exceeded a certain chart life and/or reached one of the silver/gold/platinum designations. In the UK, the Guiness organisation who issued chart records list books defined a hit single as one that spent at least one week on the official top 75. Even one week at number 75, that was a hit.
Here's some food for thought.
The Sweet's biggest hits, an album released before their first, and only number 1.
Billy Joel, my wife has his "Greatest Hits collection, volumes 1, 2 & 3. 42 tracks in total. He has had one UK number 1, 5, top ten hits.
Bruce Springsteen: again, my wife has his Greatest Hits too (Clearly, her tastes are more mainstream than mine. Better? Hmmmmm!) Bruce has no UK number 1's, 4 top 10's, 2 of which are missing from the album, though one is a Christmas hit.
There are lots of other examples, that illustrate the point that a hit is much more complex than getting to number 1. And just to add weight to the argument: Which do you prefer: Vienna by Ultravox, held off number 1 by Joe Dolce's Shattap You Face? Take on Me, by A-ha, or the song that kept it at number 2 , The Power Of Love by Jennifer Rush. Question by the Moody Blues, or Back Home, which the England World Cup Squad of 1970 pretty soon were, having failed to play better than they sang!
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The Monty Python investment puzzles me.
How would they invest in the movie when they're neckdeep in debt?
The film was made in the late 70's!
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Right, those albums took the world by storm, joking aside though when it comes to Tony and Steve, I think the fairest assessment of their solo careers would not be who's been more successful, because frankly neither was, rather who's been the least unsuccessful and I guess Steve wins there.
Well, if you were joking, it'd be fine, but you're not, are you? Not the first time you've painted yourself into a corner with pointless, dogmatic bullshit that is clearly ONLY for effect on the forum.
I'm pretty sure you yourself have, in the past, used the argument that chart success does not great music define, yet, here you are, trying to make that point, so I assume you prefer Madonna, or Michael Buble to Genesis, cos I suspect they have had more "charty" careers.
We've had spats before, and you've always tried the "I'm a nice guy really" argument, sometimes even in PM's. But sadly, experience has taught me otherwise. And in case you think I seem to have a very short fuse at the moment, you'd be right, cos there are too many troublemakers on the board of late, and not enough moderation.
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Again, Tony aside, we are hardly in Peter's, Phil's or Mike's league. A hit is, I believe a #1, or at least in the top ten, isn't it? I really ought to go and check how Tony did with his albums but, I don' think it's really important, we already know two things: he wasn't as successful as the other three and, at least he had Genesis where he was, let's say substantial.
I genuinely believe you might be the ONLY person in the world who thinks that. Most people would consider a hit to be anything top 40 in the UK at least, top 100 in the US I'd guess.
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Hit albums? I guess we don't share the same concept of ''hit''. Are we talking Face Value or So magnitude? Because those are hits. I might be mistaken but I don't think that Steve came ever nowhere near to Mike and the Mechanics. As for Tony, I really don't know, I don't have the figures so you might be right but I again, I really have no idea. I am still convinced though Steve couldn't write a hit to save his life.
Well, several top 30 albums would be hit enough for me. The Uk charts are available and searchable online. Tony had one album, I think
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There's also a goofy reaction video by this christian couple of Supper's Ready, where they get all uncomfortable about the 666 bit. The song's title or the last part seem to give the woman no inclination what the song is about, but as soon as someone utters 666 it's... "oh no, this is not song about the Devil, is it?"
I have a friend who is very religious, and took back Steve Hackett's "Voyage of the Acolyte" when he realised it was based on Tarot cards!
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Very true, some revered artists couldn't write a hit to save their lives. Peter can, he needed it and did it, quite brilliantly imo, then he made again clear, it was not what he was interested in.
Steve isn't interested and plainly can't, no matter what. Tony tried and it's really not his thing, it must eat him up inside that, with the exception of Steve, every member of the band had more commercial success than him.
I like pop, if I'm driving and Dancing Queen comes up or even Wake me up before you go-go, I turn up the volume and sing along with gusto. Now, I never bought those singles or the albums, it was not what I was interested in. Genesis, like many other artists, didn't sellout, they simply went along, the music scene in the second half of the 80s was about that, selling records which doesn't mean that in the 70s they loathed the idea of selling more but they were all, including the record companies a bit more idealistic or naive, if you will. Genesis wouldn't have made it in the 80s, no record company would have ever indulged them and waited for them.
I was OK with the new course, the idea of it, the execution left me sometimes perplexed. Keep it Dark, to name one, is pop and it's great, it's inventive, quirky, original. I find stuff like I can't dance, Invisible Touch, into deep and a few others plainly tacky.
That said, I simply don't buy the ''evolution'' rationale, they so often fed to the press and the fans.
Er......? Steve has sold several hit albums, and one (admittedly very minor) hit single. So he's beaten Tony too.
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Wasn`t that album produced by one of the Mechanics? Peter Van Hooke?
Van Hooke and Rod Argent, yes, I think they also produced the Nanci Griffith album I mentioned, hence the B Vox I guess.
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Why?
One - that deep deep voice (Is that still alto? contralto? whatever, it's deep).
Two - the oboe. So yearning, so beautiful.
Three - the atmosphere in the video, like Dorothea Lange's Dust Bowl photographs translated to South America.
Four - the song. It's one of very few where everything comes together for a perfect piece of music.
Whole album's pretty good, actually. Poor Cow is a bit preachy, but otherwise good.
Sang backing vocal's on Nanci Griffith's "It's Late". Bit of trivia for you there!
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There are videos of reactions to Shakespeare plays?!
Oh, there will be, One day, there WILL be!
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I would like to know what people think of Waiting For The Big One, which I have read is supposed to be a tribute to Randy Newman - the piano, the drawling vocal, the cynical lyrics. I listened to it yesterday. For a start, it's far too long. Newman's songs are short & to the point.WFTBO just meandered around and went nowhere. I should point out that Newman is one of my heroes, and to be honest I think he could do a better impersonation of Peter than Peter did of him. I actually think it's my least favourite track on this album.
It was my number 4 choice!
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I expect one day, there will be reaction videos to reaction videos. After they've got through doing Shakespeare plays.
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I did and really like it as an acoustic,
travelogue sort of album. I think those acoustic albums are great, in the way that Ant’s Private Parts series are great. I’m a huge Steve fan but I am wearying of the sameness of the last flurry of albums. There’s no denying his sincerity, work rate and talent but I just wish he’d vary things a bit. His early albums, like Genesis, had variety within and between albums. The last three or four rock albums sound like one big album. Hopefully, as Christian has hinted, that may be about to change, but this track doesn’t show it yet. I’m really hoping for something memorable this time.
Particularly upsetting, as variety used to be his strong point.
I quite liked the early guitar solo in it, his classic sound, but the rest was, as others said, more of the same.
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Queen - A Night At The Opera, 5.1
Genesis - Selling England By The Pond, 5.1
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Humdrum, Slowburn, Dolce Vita. Simples!
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Worthwhile poll, I've long said some of their best stuff didn't make the cut, particularly post-Hackett's departure.
My 6, from best down:
Evidence of Autumn
It's Yourself
Submarine
Open Door (almost seems like a companion to What Am I Doing Here? By the Moody Blues)
Vancouver (nice little tale reminiscent of For Absent Friends)
You Might Recall.
Honourable mention for Twilight Alehouse, not mad about most of it, but it end's well.
