Posts by foxfeeder

Quote from Backdrifter

My favourite album is Hunky Dory, my favourite period probably the Berlin trilogy although his closing sequence from Earthling onwards indicates an artist who'd gained a new burst of creativity.

Over this period he assembled a terrific core band. I'm especially a fan of Gail Ann Dorsey, one of my favourite bassists. For a set of great live performances, if you don't already know it check out the Live at the BBC 2000 cd. It's a really good mix from across his career, performed by an artist really enjoying what he was doing, backed by a top-notch band.

From this collection I especially love the rendition of Always Crashing In The Same Car. Although I'm a huge fan of its source album Low, this 2000 version is for me actually better. It's one of his rare personal songs where the emotion, in this case a kind of anguished resignation regarding his then self-destructive habits, comes through very strongly, much more so than on the original.

I have Happy Ending By Gail Ann Dorsey on a compilation, it's great song.

Here is an interesting little fact: *

Bowie briefly lived at 79a Warwick Square, London SW1: http://www.englandunderground.…wie-briefly-in-the-1960s/

In 1965, the same address was home to the Moody Blues fan club (Go Now era), addressee being Timothy Hudson.

Both were Decca artists at the time, so maybe the house was a Decca property. Bowie and the Moodies did talk of co-founding Threshold Records, the Moodies own label from 1969, but Bowie got cold feet and went to RCA.

* Well, I thought it was interesting!

Quote from FeelItComing

I have to say I'm relieved to finally know what the title means. It sounds good - hopefully my copy will arrrive soon.

Ditto to the title. It sounded awful out of context, but now...….

Having read that review, I may now go ahead and buy it myself.

And so, apart from swapping 3 and 4 over, I'd agree with the result, esp. as I voted for 1, 2 and 4!

Quote from thewatcher

Fwiw I liked it more when I heard it first. I still love the strong tracks but have less time for the weaker ones now.

I agree. Initially, I loved all of it bar YOSW, and WG I liked, but not that much. In recent years, however, side one has flagged, though for me, side 2 has stood up well, I'm one of the few who really like AIAMN, so side 2 is all good to me. therefore, I guess, it's half a good album.

Hilarious! How do these "art restorers" their hands on these? You'd think there would be some legal control of who can "have a go".

Quote from StillCan'tDance

But this forum is not the be-all-and-end-all of Genesis fandom. Far from it, in fact.

To be fair, you got your ass handed to you by TGA albeit with a lot more maturity than you appear to have displayed in your response. And you have the temerity to call me out on my so-called aggressive behaviour; I think it's high time you started looking at your own conduct (although I suspect that the fraternal relationship that you allege exists between Mike Rutherford and the Eagle Rock CEO is not too different to your association with the moderator of this here forum, based on the trolling and baiting in which you frequently indulge and yet receive no apparent reprimand).

If you must reply to this post, please consider your words carefully. You're started to wear on me (doubtless the intent) and right now I've a mind to report you just for saying "hello".

Highly amusing that you accused me of haunting you, yet you frequently refer back to old posts of mine so you can use them to "have a go" at me. Pot. Kettle? At least this one was only weeks old, not 8 months.

As for association with the forum owner, I have no more than you do, although I don't have the stupidity to have a go at him by alleging that he doesn't understand irony. I suspect that even though English is his second language, he probably has more understanding than you do. Now THAT's irony.

Incidentally, to intend to haunt you, it would help if I wasn't an atheist, but I am, so, sorry to disappoint you. Anyway, Hello, I must be going.

Quote from Backdrifter

Others here share that view but sadly I thought they killed the song off. The first section was great but the instrumental I found terrible. It felt too 'light' and seemed to drain all the substance of the original. The inclusion of a shrill tootling flute was a ludicrous idea and made the instrumental sound silly and fluffy.

It was a major crashing disappointment for me as it was the track I'd most been looking forward to and I was left crestfallen. It was a contributing factor to my deciding to not bother with any further Hackett Genesis Recycled shows.

That said, I find myself wondering if there will ever be any gigs by anyone ever again!

Sadly, I have to agree, an opportunity missed.

Quote from Backdrifter

For me, there is something to this in that he's most recently done a series of bland unadventurous albums which even he doesn't seem interested in taking on tour, preferring instead to perform one or two at most amid shows focused on reheating stuff from the band he was in 45+ years ago along with bits of his early solo career.

He gives the impression of doubting his own relevance as a recording artist.

I agree, the last 3 albums have been bland and unadventurous, but the phrase was "long since lost relevance..." which in a 50 year career, suggests rather longer than that. In any case, the 3 albums concerned have all charted, which sadly is the cause of the lack of adventure, not wanting to upset the apple cart, I suspect.

Quote from StillCan'tDance

Sounds fascinating!

Well, you are posting in this thread, so you should find it similarly interesting, many of the albums discussed here are featured, inc. Pink Floyd and Woody Guthrie. Or there's always the OFF button.

Quote from StillCan'tDance

I can't speak for the Hackett album (but he's long since lost relevance as a recording artist anyway) but, having heard the Marillion albums I will attest to their unmitigated awfullness. I mean, if you like that sort of thing, then fine, but I much prefer Marillion after the sub-par Peter Gabriel wannabe left the band.

Define "lost relevance as a recording artist". If you mean because you no longer liked his stuff, and appear never to have liked it anyway, well, that's not defining. That's just subjective.

Quote from Backdrifter

Well... you know... it's all subjective really. If we were literally judging Jester by its cover rather than the laughable title, I'd have to judge it as being overwrought and angst-ridden. I hated those early Marillion covers and that sodding jester. The album has a couple of ok moments but I thought the production was pretty poor. Fugazi was slightly better. Vigil isn't bad, I recently heard State of Mind for the first time in a couple of decades and think it still holds up well.

Bringing it back to SH, and rubbish title aside, I'm guessing from your above comment you'd agree Horizon is one to check out for someone like me who is unfamiliar with the "mid-period" stuff as it were.

Yeah, it's odd, isn't it. I like the early Marillion covers, and production values aside (I don't think either are badly produced) Fugazi is a wasted opportunity, the difficult second album that was. Assassing is a great opener, but after that, it's just awful. The next 2 albums are great, but I never engaged with post Fish stuff, Vigil is very good, lyrically clever, as you'd expect, and nicely varied. Big Wedge, A Gentleman's Excuse Me and Family Business are standouts.

BTSH is his last good album, IMO, unless you count Squackett's A Life Within a Day, recorded earlier, but released after it. Wild Orchids and To Watch The Storms are both good, from the mid-noughties.

There's a programme about concept albums on BBC4 tonight, hosted by Rick Wakeman. It MAY be a repeat, since it sounds familiar, but I'll record it anyway.

Quote from StillCan'tDance

Chumbawumba, another here-today-gone-tomorrow band. Trendy for about five minutes (although at the time, those five minutes felt like a lifetime), like Pulp, another band whose short-lived success remains a total mystery to me.

At last, something we agree on. (Not Pulp, who are OK, nothing more, though occasional member Richard Hawley is superb on his own)

Quote from StillCan'tDance

Eurgh! That must vie with Script For A Jester's Tear and Vigil In A Wilderness Of Mirrors for most pretentious album title of all time.

Which just goes to prove the old saying, "never judge a book by it's cover", all 3 are great albums.

Quote from StillCan'tDance

Can't help yourself can you? Tell me, foxfeeder, how much do you charge to haunt a house?

I'll let you know when I'm dead!

Quote from WinstonWolf

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.

Exactly! A remix, (rather than a remaster, which just manipulates the existing stereo mix), has, by definition, access to the original multi-track master. In the mid-60's that would be 4 tracks, becoming 8 in the late 60's, 16 during the early 70's and progressed to 48 while tape was in use. Nowadays, tracks are almost unlimited, Steve Hackett used 312 on Turn This Island Earth!

Clearly, some artists/producers would record things on some tracks of the multi-track master, and later decide to leave them off the final mix. Those might include alternative vocals (A Simple Game by the Moody Blues has Mike Pinder, the song's writer, on lead vocals on the long established version, but recently a version has surfaced with Justin Hayward doing the lead vocal. It's not a new recording, just a remix using a different vocal track.) Nick has clearly decided to use "other bits" in places, or omit some. There is an additional issue with a remix, sometimes, effects are added during mixing, and now, when Nick, in this case, does the remix, those effects are near impossible to do because the old equipment used to do it no longer exists (things like Wem Copycats, though that wouldn't be hard to substitute, or the old echo springs.)

You weren't wrong, just maybe not expressing it clearly enough, esp. for some people!

Almost forgot Enya's outstanding Watermark album, a tale of separation across the water. One of the most moving albums ever.

Quote from Backdrifter

Yes we've seen all eps now and it was superb. It did a great job of taking this ruthless act of chemical terrorism out of the political sphere and shining a light on the human dimension. It was hugely moving at the end, especially the snippet of home video footage - I'm welling up again just thinking about it and writing this.

Indeed, I doubt any of us outside Salisbury had any real idea of life there at the time, all we had was media feed, and we know how that distorts things. I feel this show brought us the reality. At least the UK stood up and called Russia out. There have been similar assassinations in the US, apparently, but they are overlooked to avoid causing tension between the superpowers.

Russia must know we don't bury it, look at the Litvinenko case. We called it like it was then, too.

I can think of several rock & associated concept albums that work for me. TLLDOB is fine by me, musically, it mostly works, though it sags towards the end, and the story IMO is fine IF you accept that it's in an alternative reality.

Smallcreep's Day and Defector, both half concept albums, are good, and Nick Magnus's Children of Another God, a story of a cloning experiment gone wrong, is superb. Tony Paterson & Brendan Eyre's Northlands, about a man returning to the North-East of England to lay some ghosts to rest is another very good album.

The Moody Blues excelled, with Days of Future Passed, the story of a day in the life of everyman, In Search of the Lost Chord, a search for enlightenment, and Seventh Sojourn, loosely based on the Canterbury Tales, where the songs are the bandmembers stories of their lives and experiences. But their best, and THE best concept album IMO, is 1969's To Our Children's Children's Children, inspired by the Apollo moon landing, it starts with lift off, and ends with the colonisation of another planet. OR is it Earth in the past, due to the effects of time dilation?