Anyway, I really hope no-one takes that suggestion seriously and starts a poll.
Aww... well, I know I would vote in it!
Posts by DecomposingMan
-
-
Display More
Genesis fans:
Also Genesis fans:
Also also Genesis fans:
Also also also Genesis fans:
The poor guy just can't catch a break, can he?!?
Maybe a poll is needed here?
-
This might be giving Blood on the Rooftops a run for its money in terms of unanimity at the top of the board. Maybe it's even doing better.
I actually rate "Blood," "11th Earl," and even "Unquiet/In That" above this one as far as W&W tracks go.
-
I'm sure it's a single voice, I only ever hear Banks's.
Hmm, I just listened again and I'm sure I hear both. Maybe you're listening to some later mix where that part is done differently? I've only listened to a pre-remaster version of NC, and I'm already aware of one way that later mixes depart from it (dropping an already rarely noticed line from TFOS -- see here).
-
See also Banks's "...she is a lady" overlaps.
Sure, but I think that's him and Phil singing together. Phil's "here it comes again" part has him singing alone and at about the same volume as Peter.
-
With his repeated line "here it comes again," Phil is really a second lead singer on this song, isn't he? But I've never known anyone to say so.
BTW, I've never liked how he sings it in live versions, like he's trying unsuccessfully to imitate some sort of studio effect: "Here it comes agai-wowwowwowwowwow..."
-
It's about heroin
I did eventually figure out the "drugs" angle of the song but it took me a while. And I'm still a little unclear about "the man she left waiting is waiting to murder a day" at the end. What man did she leave waiting?
-
Back to CAS: I gave it a good listen recently and have to say I wasn't too impressed. Tony & Mike were "professionals" as I've said, but their judgment was questionable at times. There are some tracks I really like (Alien Afternoon, Dividing Line, Uncertain Weather, There Must Be Some Other Way, One Man's Fool) but nothing I'd rank among my favorite Genesis songs.
BTW, I can see the parallel between ATTWT & CAS -- both dominated by Tony & Mike, neither of whom seemed to know quite what to do.
-
STILL is my favorite Banks album but this track ranks about last for me -- i.e., I like it but I like the other tracks better. I consider this to be far more of a Fish track than a Tony one. And I'll admit that I've had a bit of a hard time understanding the meaning of the lyrics.
-
Is the SR example the guitar part Hackett said made him cringe and he couldn't listen to it (if I'm remembering that correctly)? Which bit is that - I've never been clear on that. And on which part of Hogweed did they use it?
SR: Sped-up voices in Willow Farm -- fly away you sweet little thing / mum to mud to mad to dad (etc.)
Hogweed: Slowed-down voice -- mighty hogweed is avenged (etc.) -
The best track (IMO) on an album I'm generally not especially fond of.
Déjà Vu, which he wrote together with Peter Gabriel during the Genesis era. Someone can correct me if I'm wrong, but my understanding is that this was an incomplete Pete idea from 1973 but Steve didn't add to it until he started working on GENESIS REVISITED.
-
Another vocal bit I've often wondered about is "Let the dance begin". Is it actually varispeeded or did he just do a mock 'slow' voice? Whichever it was, I wonder why that choice was made.
Varispeeded. There were other Genesis songs with varispeeding before this as well (Giant Hogweed, Supper's Ready).
-
Gave the album a listen and observed a common feature in both of Tony's "story" songs (Vine & Mouse's): A dramatic instrumental finale that goes on for almost 2 minutes after the story's finished. That's fine from a purely musical standpoint, but from a narrative one it seems to me kind of like taking a really long time to say "T.....H.....E............ E.....N.....D".
-
And on the demo version, according to Ant’s website, backing vocals included Tony Hill-Smith and Barry Johnston!
I wonder if they're among the ones are who more in tune or less so! The backing vocals sound so much better on the final version. I also wonder if John Mayhew appears on the demo in any capacity.
-
A favorite from TRESPASS for me.
The verse melody is just outstanding, especially when compared to the far less creative one from the early demo on ARCHIVE 1.
-
Personally, I think CAS is the weakest Genesis studio album, closely followed by FGTR.
After a recent listen to FGTR, I'm officially changing my opinion here: I think FGTR is the weakest Genesis album. For one thing, there are some truly cringe-worthy lyrics on it, especially on side 2. CAS is at least the work of professionals.
-
Interesting article.
"Tony Banks, however, thought it was a strong time for the group. 'It was the time when Steve emerged as being more of an equal contributor to the group than he had been prior to that.'"
I've had basically the same thought about WIND. I think it's odd that Steve would leave the band over not having enough of his ideas used... right after the album that used the most of his ideas.
"'I always loved Unquiet Slumbers, which was especially great on stage,' Rutherford says."
They played that song live??
-
I hadn't listened to the album in a long time so I gave it a spin recently. I have to say, if I heard the verses of "Hideaway" without having ever heard the rest of the album first, I would have thought, "hmm, he's not doing too bad." But the chorus is another matter, as I said before.
-
Can't leave it there!
I'll have a guess one was called "The Stumble"
Unfortunately I didn't keep it, and I wouldn't be able to come up with the same list again. I didn't have "The Stumble," but I know that one of the titles was "Follow Me," in reference to one part that really sounds like it could be its own song.
-
W&W is a favorite Genesis album of mine but this is not one of the top tracks for me. It's well crafted musically but the story doesn't do anything for me. I would describe it as sounding like an entire concept album edited down to 10 minutes. One time, for my own amusement, I even made a list of fictitious song titles that such an album might have, based on the various sections of OFTV.
