Posts by DecomposingMan

    I got the CD just now and haven't had opportunity to do a full listen yet. But I have one observation.


    I decided to compare the UNDER version of "Lorato" with the one from HARMONY FOR ELEPHANTS, which I can do both aurally and visually with some sound editing software. It appears that both versions are taken from the same performance, but the HARMONY one is edited in a few places so as to be about 20 seconds shorter. Oddly, though, one little bit about 20 seconds in is slightly longer in the HARMONY version. Go figure.

    Was listening to the AGAINST ALL ODDS soundtrack recently, and wanted to comment on this song.


    Mike sounds a lot better here than on ACTING VERY STRANGE -- so much so that I was once unable to convince another listener that it was actually him! (The only part that sounds weak to me is "a different wo-o-orld.") I really wish Mike had done an album where his singing sounded like it does on this song, instead of how it sounds on AVS.


    Also, I suspect that all the parts in the song -- vocal & instrumental -- were performed by Mike. The only part I wonder about is the strange, female-sounding voice at the end. What is that? An uncredited guest singer? A sped-up Mike? Hmm...

    CD liner notes have the wrong track length on all of them ...?

    The "wrong track length" part is the right answer. In the initial releases of each of the albums involved (on LP for the first 2, of course), the track length for each of these songs is overstated by more than half a minute:


    "It" - Time given as 4:58, actual time about 4:20

    "Throwing It All Away" - Time given as 4:41, actual time about 3:50

    "The Diving Line" - Time given as 8:59, actual time 7:45


    I don't know whether the error on "It" was carried over to any CD releases, but my pre-remaster CD of INVISIBLE TOUCH shows the wrong time for TIAA.


    BTW, if you're aware of the notorious MCA LP release of TRESPASS where all 3 songs on side one are listed at "7:00"... well, that was actually more accurate than any of these cases!

    Wikipedia, regarding the writing of ATOTT, blithely says Banks was amassing material for a possible solo project and this song was one of them. I don't think I've seen that mentioned anywhere else and I have no recollection of TB himself ever having said that in interviews. Has anyone else?

    I recall seeing the same comment on Wikipedia and even starting a forum thread about it; but I'm not able to find it now, and I'm wondering what happened to it.


    What I mainly wondered was: Who would have sung on a 1976 Tony album?

    it was decided that Mike would put down some rough guide vocals for most of the tracks.

    I can't begin to imagine what that would have sounded like...


    On another note: Where does the title of the B-side "Compression" come from? It's not even remotely hinted at in the lyrics as far as I can tell. Way back in the early '80s, when I was familiar with the album, and knew of the B-side but hadn't yet heard it, I thought the title sounded like it could be connected somehow with the "mechanical" theme of the SD suite.

    I was able to find this album on CD easily enough at one point, but that may have changed since then. The CD version has no lyrics or even proper credits -- i.e., no mention of Noel, Ant, etc.


    A couple of comments about the review:

    (1) It says that the sides were swapped on many US & UK pressings by mistake?? That contradicts other information I've heard (sides swapped intentionally on US pressing only) and it doesn't sound right to me.

    (2) It also says that, since the suite is longer than Supper's Ready, it can be counted as "the longest Genesis-related piece of music." Um, no... that would be "The Meadows of Englewood" by Anthony Phillips & Guillermo Cazenave, which runs for 36:43.


    Side note: This morning I decided to copy the single edit of "Working In Line" from vinyl to digital. It makes for a rather odd single, given that the words don't make any particular sense out of the context of the suite. The vocal section is included twice, rather than just once, but overall it's shorter than the album version (about 2:45). (I originally only got the single for "Compression," a track that really should have been included on the CD reissue to begin with.)

    Moving this from the other thread since it probably fits better here...


    I may have said this before but I'll say it again: I know that the suite is officially supposed to be on Side 1, but I've always been used to the U.S. vinyl version that had it on Side 2. To my ears, the album just doesn't work right with the suite on Side 1; it's like switching the sides of, say, FOXTROT.

    does give some insight on the album.

    I'm honestly surprised to hear that, given what minimal reference the suite seems to make to the book's plot.


    The things I've heard about the book generally don't give me the impression that I'd want to read it, although I'll admit to being curious about the ending -- having heard various descriptions of it that all use emphatic language and yet say very different things.


    As for the album, I've loved it since first hearing it, although I can also understand why some might not like it.

    I've never read the original SMALLCREEP'S DAY book and never plan to; but having had the album since the early '80s, I was somewhat surprised when I eventually found out how different the suite (and the brief plot summary in the album notes) was from the source material. To be honest, the suite (and plot summary) left me with the impression that the original "Smallcreep's Day" must have been some happy little children's book!

    Henry & Sredni - Correct all around!


    As for #3 - This will be a tough question. Hint: It's observable from the track information (as seen in, say, Wikipedia), but I had to know the basic track information from all Genesis studio albums in order to figure it out.