I've heard this song spoken of as being one of the highlights of WE CAN'T DANCE, but I've never rated it that highly. It's hard to say just why it doesn't really impress me, though.
Posts by DecomposingMan
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Not sure. I am unsure how they even got those credits. I suspect that In Limbo has never had its credits revealed so the author probably used all the band members at the time instead. I'm curious where the credits came from in the first place for the other tracks as well.
For what it's worth, I've seen "In Limbo" credited somewhere to Banks-Gabriel-Phillips-Rutherford. There may be something to that, or it may just be a case of all of the members being credited who were known to actually write.
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Huh, weird. I haven't listened to that song for a while, I had a clear memory though of last time I listened to it I couldn't make out any of the lyrics, googled for them, found nothing ("no lyrics have been contributed to this song yet") and ended up on wikipedia reading about Gilmour mumbling through the lyrics in order to make them incomprehensible. Either way I must have dreamed all this or I am massively confusing things.
You can find the lyrics here:
The Narrow Way - Ummagumma Lyrics - Pink FLoyd Lyrics (pink-floyd-lyrics.com)
I'll admit that I actually couldn't understand a lot of the words, but that's because many of them are sung in a high falsetto, not because they're mumbled.
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There's a TV performance (with Rick Wakeman, I think) where Steve introduces "Guitar Boogie" like this:
"This used to be called Berry's Boogie, and then Beck did it and called it Beck's Boogie, so I suppose we ought to call it Hackett's bogie."
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In 'The Narrow Way part 3' David Gilmour sings something which is clearly lyrics, yet muttered so it's impossible to understand what he sings. Wikipedia claims he was embarrassed of his lyrics so he muttered them.
Are you sure you've got the right song? I can understand many, if not all, of the lyrics in that song (which is a favorite of mine from the UMMAGUMMA album). And they're well written, IMO. I don't see anything in Wikipedia about the song's lyrics except that Gilmour didn't want to write them himself and unsuccessfully asked Waters to help.
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I got interested in Genesis in the early '80s after hearing a few of their albums (especially DUKE). In early 1982, I went into a record store and picked up almost all of their albums at the same time. I then listened to them, in release order, as I had time. I started with a version of FGTR that had the early singles tacked on to the beginning and the end, so that the first track was the mono version of "The Silent Sun" (basically indistinguishable from the album version, but I digress).
I'll never forget that initial impression I got as the song started: "There must be some mistake... this is Genesis?"
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What songs can you think of that have lead vocals, but don't have actual lyrics? Here's what I've thought of:
Genesis - Naminanu
Focus - Hocus Pocus
Chicago - Happy 'Cause I'm Goin' Home
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Here is the version from Robert Fripp's Exposure album:
Here is a solo piano version from a Kate Bush special:
I find the starkness makes the song more haunting, but no less powerful. The booming drums and guitars are just too much for me in the studio version. My guess is that Peter himself preferred starker versions as this how he has mainly played this song live ever since.
To me, these are like hearing a nice, stripped-down version of some song on a live album: an interesting and even revelatory alternate take, worthwhile to have alongside the original studio version, but I would never want to replace the original with it.
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'Tis funny though, you included To Share Our Love, the middle of their weakest run of songs, IMO. OTTOAD starts well, and side 2 is brilliant, but Send Me No Wine/To Share Our Love/So Deep Within You as a bit of a sagging moment on the album
Well, the first album I ever owned was THIS IS THE MOODY BLUES, on which OTTOAD is (in my opinion) a bit too heavily represented in comparison to other albums. When I heard all of OTTOAD much later, I think I got to be particularly fond of "To Share Our Love" and "So Deep Within You" (along with "Are You Sitting Comfortably") partly because I hadn't already heard them a million times on THIS IS!
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WHAT!!!!!!!
Um... (mumbles something about different people having different tastes)
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My favourite band, the Moody Blues, here are some you have likely never heard, totals about 45 minutes:
The Day We Meet Again
Lovely To See You
Bless the Wings (That Bring You Back)
Are You Sitting Comfortably
The Swallow
The Actor
Deep
Out & In
Don't You Feel Small
Lost In A Lost World
Melancholy Man (“This Is The Moody Blues” version)
Being a fan of "classic 7"-era Moody Blues, I guess I should come up with my own list. I'm not including anything that (1) was a single; (2) was included on THIS IS THE MOODY BLUES; or (3) came after SEVENTH SOJOURN.
In no particular order:
Twilight Time
Dr. Livingston I Presume
To Share Our Love
Eternity Road
Sun is Still Shining
Don't You Feel Small (BTW, I'm glad to see someone else likes this one.)
It's Up to You
Nice to Be Here
You and Me
I Really Haven't Got the Time
King & Queen
BTW, I'm surprised to see "Lost in a Lost World" on someone's list, as I've always considered that to be the worst track from a "classic 7" Moodies album that's not a spoken word piece!
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An interesting oddity, which definitely would not have fit in with W&W.
Trivia: The incorrect transcribing of "narcotize" in the printed lyrics gave us the fictitious word "knockatize"!
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I was just listening to this album and was reminded of why I don't care for "Waiting for the Big One" all that much: with his mumbling, occasional squawking, etc., Peter ends up sounding like someone who can't sing. If the vocal was just more on-target, it would be a much better song overall. (BTW, I wonder why there's no credit for the backing vocals at the end.)
As for "Excuse Me": Yes, it is very much like a joke track, but in my opinion it's done well enough to still be a worthwhile song. It does strike me as kind of odd that Peter's first album would have a song with lyrics written by someone besides himself, though -- Martin Hall, who would later write the lyrics to "Holy Deadlock" on Ant Phillips' SIDES.
On another note, I don't really share the opinion that the original "Here Comes the Flood" is overproduced, although I'll admit I haven't listened to any alternate version.
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1989 (Taylor Swift).
Another case of abbreviation, I see...
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Prince- Sign of the Times.
Unless I'm missing something, that's a "neither" instead of a "one or the other."
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I wasn't looking for cases where there's neither artist name nor album title on the front, as those are far more common than cases of one without the other.
Let It Be doesn't have the band name on the front.
Teaser & the Firecat by Cat Stevens - no album name.
Good ones!
F&M by Lindemann - no album name.
I looked this one up and the cover I found showed both artist name & album title.
Meddle by Pink Floyd
Depends on the release. LP copies I've seen had both artist name & album title.
Porcupine Tree's Closure/Continuation only says P/T C/C
Brain Salad Surgery by ELP - no album name.
Hmm... abbreviations only. These would be really special cases.
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I just did a quick read of the Wikipedia page about this song, particularly the part about all the criticism it's gotten. And, frankly, all those criticisms sound to me like a bunch of nonsense.
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I know this is an old thread, but I just came across another example of artist's name but no title on the cover: MR. FANTASY by Traffic.
I'm surprised I didn't think of it before, given that (1) Traffic is one of my favorite bands; and (2) their next album was mentioned earlier in the thread (though it doesn't actually fit the question I was asking).
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Is it still up?
I didn't think it was until I looked for it. At some point he even added further information to it, which I didn't see before.
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Years ago a certain prolific writer had a website with numerous record reviews, and one feature he decided to include was going to be somewhat similar to our "Track of the Week." Basically, he wanted to take various great songs and do an in-depth lyrical and musical analysis of each one. However, he only managed to do one such article, and it happened to be about "Dancing With the Moonlit Knight."
Regarding the extended outro: It apparently gets a lot of criticism, but I think it's a nice touch. Someone (on this board, I think, but I can't find it now) wrote something about how it makes fairly little impression (though in a good way) even though it takes up a "full quarter" of the song. I did the math, though, and found that it actually only takes up a fifth of the song.