Posts by DecomposingMan

    During some channel-surfing recently I saw a short segment of the show "911" where a young driver was unable to stop the fast car he was driving. The music chosen for this scene was Phil's "In the Air Tonight" -- which, IMO, didn't really fit.

    Last night I dreamed that my wife and I were watching some sort of "video album" of SELLING ENGLAND BY THE POUND. The idea, apparently, was that various live-action visuals (not involving band members) were shown while the songs were playing. In the dream nothing from Side 1 actually played, except possibly "More Fool Me" (or something with Phil singing -- apparently there were supposed to be a couple of "extra tracks" included).

    Anyway, I wasn't especially looking forward to "Epping Forest" because I knew my wife would find it incomprehensible and probably a bit annoying. But it was even worse than I expected. In the video, the song kept being stopped and restarted, with long scenes in between where actors did their bits without any music behind them. During one of these scenes I left the house for several minutes, for no clear purpose, but when I came back the song still hadn't resumed. The one "scene" I remember showed one of the characters (apparently "William Wright") vandalizing the speaker at some sort of drive-through window, but being allowed to get away with it because of his imposing size.

    A nice enough piece, but I like most of the rest of GUITAR NOIR better. This is the only Steve piece I can think of where he does a spoken part in his natural voice, without doing a "character" voice or adding effects (like pitch lowering).

    BTW, I only have the 6:55 version from the original GUITAR NOIR release. Up until just now I hadn't heard the lengthened version from the later release, and honestly I was unable to spot the difference.

    Annie Haslem

    Actually, that should be "Haslam." Anyway, for those who don't know, John Wetton was briefly a member of Annie's band Renaissance. This was during 1971-72, a period of many changes for the band but no known live recordings. I've seen a picture of a band lineup with Wetton, though (probably no longer online). Much later he would work with Annie again in various contexts, including a guest appearance on the most recent Renaissance album.

    And now you know.

    One of the longest Genesis B-sides, and also one of their best from the '80s. This was one of the last (possibly the last) of the new Genesis songs that I obtained on vinyl back in the day.

    I have to wonder what specific things Tony observed that inspired the rather vicious lyrics. And I'm rather puzzled by the line about "poisonous flies."

    Some thoughts about the actual music on the set:

    I really don't have much need for a live TLLDOB, and don't consider it as adding significantly to what's already heard on the original album. For me the main features of interest are (1) the full version of "The Waiting Room" that was edited down for the "Evil Jam" B-side; and (2) the odd little bit added to the end of "Anaesthetist."

    The live tracks on disc 3 don't really light my fire either, especially the version of "I Know What I Like" (which I didn't listen to at all for a long time). Maybe the full "Rainbow" concert should have just been released separately to begin with, instead of us just getting parts of it here. The BBC version of "Stagnation" could have easily been replaced with some other, more interesting BBC session track (like an earlier, different version of the same song).

    The studio tracks at the end of disc 3 are, to me, the most essential tracks, long overdue for CD release. I don't even mind that the beginning of "Twilight" is different than on the actual single.

    The Phillips-era stuff on disc 4 is mainly of historical interest, but there are some gems. "Shepherd" is haunting and timeless, and Tony's vocal works well. "Let Us Now Make Love," in spite of falling a little short of its potential (there are other rhymes for "now" besides "brow," you know) has actually brought tears to my eyes at times. "Build Me a Mountain" is a great, twisted rocker (in spite of the out-of-tune guitar and a couple of weak lines of lyrics). The really early demos aren't very competent, but they're fascinating and have something of that odd "what alternate reality did this come from?" quality that I hear in FGTR.

    In an earlier thread (here) I listed a few complaints that I had about this set (including the one about "Hey!" that I brought up again above). However, I've since backed off somewhat from one of them: the ending of the live "Moonlit Knight" being edited out. I got to hear the unedited version recently, and that ending sounded terrible!

    Thoughts upon reading the review...

    Photos: There are none of John Mayhew, and those of Chris Stewart (one) and John Silver (several) don't have any indication of who they are.

    Booklet: I haven't looked at it all that much (still haven't read through it all), but the pages are all falling out in my copy.

    "Then there is a list of all the tracks on the four CDs and their respective credits. Here (and elsewhere) the reader notices a couple of mistakes."

    How about the drums on "Hey!" not being credited? Logically, they're probably played by Chris Stewart, but it would be nice to have confirmation. Assuming it is him, he's been denied what would have been his only performance credit on the set.

    Possibly my favorite Genesis non-album track, which is fitting because the 4-man era is my favorite phase of the band.

    This was the first Genesis non-album track I ever heard, or heard of, back in the pre-Internet days when discography information was harder to come by and one couldn't simply search for music online. I originally knew of it not as a track from "Spot the Pigeon" (which I only heard about later), but as the U.S. B-side of "Follow You Follow Me."

    I bought this when it was new, and it's still among my favorite Genesis-related solo albums. Favorite tracks are "And the Wheels Keep Turning" (which I actually heard on the radio once) and "By You."

    I always got a kick out of "Charm." To me it sounds like some kind of twisted fashion-show music.

    "Tony Banks, keyboarder and creative head of Genesis, released his second solo album."

    Technically, it was the third. The WICKED LADY soundtrack was the second.