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OK, here's a question related to opening songs: Do you prefer "Where the Sour Turns to Sweet" or "Calling All Stations"? 
For me, it's the first one -- best song on FGTR IMO.
I almost didn't buy CAS because of the initial impression I had of the title track. It's one of those songs that took me a while to warm up to. (Once I heard the whole album I was glad I bought it, though.)
At first listen "Fox's Tango" sounds better to me than "Wingbeats." Steve's singing is especially impressive. (I can't understand the words but I get the impression he may be getting political, which I'd rather he didn't.)
BTW, I just listened to the songs without watching much of the videos. (Personally, I think music videos are one of the most useless art forms ever invented.)
i see this thread lacks a poll ...?
Would a poll allow enough options to cover all of Ant's albums, or even the non-collaboration ones?
Eleventh Earl of Mar. And it's not even my favorite song on W&W (Blood on the Rooftops has that honor).
I hope it's not typical of the rest of the album.
"An Island in the Darkness" is very much not typical of the rest of the album.
"An Island In the Darkness" does absolutely nothing for me.
Glad to see I'm not the only one who's not a big fan of the track. I can't say it "does nothing" for me, but I consider it to be one of the less enjoyable tracks on STRICTLY. I guess I'd describe it as a 17-minute song that has a much better 8-minute song inside of it trying to get out.
So the first pic might be somebody's wrong guess?
what I didn't know until recently, was that Phil Collins was one of the screaming fans at the end of the film.
Yes, and I used to hear conflicting things about whether or not he can actually be spotted. "There's a close-up of him here -- he's wearing glasses" or "you can't actually see him anywhere." When I had a chance to look through the film carefully one time, I couldn't spot him.
However, I just did a search and found a screenshot from the movie that points out where he is. It's not a close-up, and it's no wonder I didn't see him.
A review of the GTR album (now no longer available online) said something like this: Not long after GTR disbanded, Hackett was asked in an online chat to describe Howe's personality. His response was simply: VEGETARIAN.
I've always wondered if this had some connection with the "vegetarian guitar" from GENESIS REVISITED...
An OK album, not great and not terrible. I never liked the way "Please Don't Touch" (and the title of "Hackett to Pieces," for that matter) was recycled for "Hackett to Bits."
My favorite song on the album, by a long shot, is "Imagining."
One thing I find interesting is that Hackett seems to have originally come out of GTR with a rather low opinion of Howe, but the two would become good friends later on.
Funny, out of all tracks, Wingbeats was the only one I would NOT have chosen to be a video single (apart from the first and last track, which are short instrumentals). It's also the track on the record that sounds most like previous Hackett. The album has far more to offer.
That song did less for me on first listen than almost any other new Hackett song I've heard in a while. It's not hard to believe that there will be better things on the album.
I have a special fondness for most of Genesis's non-album tracks, so it's hard to pick just 6. So I decided to pick 5 and leave #6 up in the air.
Inside & Out
Twilight Alehouse
Let Us Now Make Love
On The Shoreline
You Might Recall
I'm also fond of Shepherd, It's Yourself, Anything Now, Build Me A Mountain (not listed), etc.
(On the other hand "Me & Virgil" & "Nowhere Else To Turn" may be my 2 least favorite Genesis songs.)
"Tony says he & Peter wrote the lyrics for Fountain"
Thank you! I've been wondering about that song for a long time.
Getting back briefly to the original topic of the thread: I think we can all agree that it would be interesting to know what individual credits for Genesis songs from the Gabriel era would have been. Well, many years ago I read an interview where Tony said he was actually pushing for individual credits as far back as FOXTROT.
...Then, many years later, he turns around and claims (in the notes for GENESIS ARCHIVE 1967-75) that the group credit was used "because that's the way it was" -- an obvious lie, especially in regards to the shorter songs. Go figure.
The Seconds Out one with PC's overacting makes it even worse.
But I've always liked how Phil does "he was completely surrounded" on SO.
Well, I guess everyone has lost interest in this, so I'll go ahead and give the answer...
Symmetrical (or palindromic) songwriting credits!
ACTING VERY STRANGE
Side 1:
1. Rutherford
2. Rutherford
3. Rutherford-Bellotte
4. Rutherford-Palmer
Side 2:
1. Rutherford-Palmer
2. Rutherford-Bellotte
3. Rutherford
4. Rutheford
PROLOGUE
Side 1:
1. Dunford
2. McCarty-Thatcher
3. Dunford-Thatcher
Side 2:
1. Dunford-Thatcher
2. McCarty-Thatcher
3. Dunford
It looks like John Mayhew is unseen here, except very briefly on the far left at about 0:12.
Down & Out - lyrics: Phil
I always thought this was Mike.
Eleventh Earl Of Mar - lyrics: Mike & Steve
Blood On The Rooftops - lyrics: Steve
I know that "Eleventh" incorporates part of a song Steve had written, but I don't know whether that includes his words or only his music.
Steve has said that he wrote the "majority" of the words to BOTR but Phil came up with the actual line "blood on the rooftops." It may just be me, but I've always thought that the words from "blood on the rooftops" through "word from Peking" stood out as sounding like they weren't written by the same person as the rest of the words.
I've just been listening to Seconds Out again. Right before they start playing The Lamb Lies Down On Broadway, what does Phil say to the audience? I always hear it as "The seat bunny!"
That's similar to the Traffic live album ON THE ROAD, where the German audience yells "Sparks! Sparks!" as their way of requesting "The Low Spark of High Heeled Boys." It happens to sound very much like "Swans! Swans!" I tried to figure out the meaning of that for a long time...
