The guitar solo by Hackett is fantastic, I heard someone say once it sounds like he’s playing guitar underwater.
The effect on it makes it sound like it's played backwards, but it actually isn't (based on something I read that one of the band members said about it).
An excellent song from what I consider to be the band's best album, but I would actually rank the majority of the other tracks above it.
This one of those rare cases where I'd like to change something about a song, and know exactly what I'd change. Specifically, I'd change the last "sail away, away" of the chorus so it's not identical to the first one, with the last "away" going down rather than up from the previous one. (Hard to communicate in writing, I know.)
The drum machine makes me think of A CATCH AT THE TABLES, but Ant's vocal here sounds different somehow from past ones -- more reverb, for one thing.
OK, a dumb question: As someone who lives in the U.S., I don't think the expression "you've got me inside out" would be used much here. What does it basically mean? I think I heard somewhere that it means something like "you've got me all wrong."
And don't hate me, but I also feel like On the Shoreline would've been a more interesting album opener than No Son of Mine!
I never thought of that, but I have to agree. After all, there's a reason OTS was chosen as the opening track of ARCHIVE 2.
I was listening to Trick of the Tail, and for me, unequivocally, the 3-4 second transition between the end of Entangled (with the hauntingly angelic voices singing) and the beginning of Squonk (with the massive drum intro) is the most perfect transition between Genesis songs on any of their 15 albums.
The "Entangled"/"Squonk" transition came to my mind as soon as I saw the thread title.
Not an outstanding track in my opinion but not terrible either. The lyrics are fairly evocative and the music isn't bad. My main complaint is that the "why-y-y-y"s sound kind of awkward.
This would have fit right into the SOIREE album.
1. The Golden Age of Steam -- Some people may not like this (I've even heard someone say it "should have been left on the cutting room floor"), but it's my clear favorite on the album. An unexpected style with a wonderful sense of suspense throughout.
2. Twice Around the Sun
3. Dreaming with Open Eyes
no-one has mentioned the repeat of the "can you hear me?" section of Driving the Last Spike?
Maybe because no-one else hears it? I definitely don't. Where is it in the song?
Mike Pinder, keyboard player, songwriter and singer with the Moody Blues, 1964-1978.
Oh no -- that's 3 of the classic 5 Moodies gone now, and all 5 of the original ones. 
I heard that since WCD was the first album completely aligned with the rise of the compact disc, the band went a little overboard with jamming a lot of songs on the cd. Since it was a new medium, they went a little crazy and some tracks that should have been B sides ended up on the album. Someone can correct me if I’m wrong, I am not sure where exactly I heard this. Seems to make sense.
WCD is definitely the first Genesis album to be sequenced for CD rather than LP. It was available in double LP format but was not "designed" for that, like LAMB, SECONDS or THREE SIDES were.
You could say it marks the first time Genesis was affected by what's called "CD bloat" -- i.e., the tendency of artists to make (often pointlessly) longer albums once the CD format took prominence.
Incredibly enough, as of 2011, there were still reissues misprinting the second half of One for the Vine as Salmacis.
That's how the track divisions are on my DER copy of 3SL: "One for the Vine" is divided into two tracks while "Fountain" and "It/Watcher" are lumped together in one track.
I think the DER Lamb had Broadway Melody coded as being just the tranquil bridge section before Cuckoo didn't it? Making it about 40 seconds long, with all BMO74's words attributed to Fly.
My copy of the DER LAMB has the wrong track division, leaving "Broadway" at a mere 0:33 (and listed with that time on the back). However, the booklet has the lyrics to "Broadway" in the right place.
The same wrong track division also shows up in the live versions of "Fly" and "Broadway" on my copy of ARCHIVE 1.
(BTW, not an error but something I find interesting: My old LP copy of LAMB had Peter's story printed inside the gatefold, and at the end -- as if to fill some space that was left -- the story was started over again for a few paragraphs, stopping abruptly when the space ran out. Well, I just noticed that it's the same way in my DER CD copy!)
Speaking of Definitive Editions and SELLING ENGLAND BY THE POUND: My copy of the Definitive Edition of SELLING has the second part of the lyrics to "The Battle of Epping Forest" -- i.e., starting with "They called me the Reverend" -- under the title "After the Ordeal."
On my copy of the Definitive Edition remaster of THREE SIDES LIVE, the live tracks from the original UK side 4 have footnotes that were incorrectly carried over from the original US version with 5 studio tracks:
Recorded at... * The Farm Surrey '81 and + Polar Studios Stockholm 1979
"One for the Vine" and "Fountain of Salmacis" are marked with "*" and "It/Watcher of the Skies" is marked with both "*" and "+". (Of course, the "*" tracks were actually "Paperlate," "You Might Recall" & "Me & Virgil," while the "+" tracks were "Evidence of Autumn" & "Open Door.")
Also, my copy of the Definitive Edition of A TRICK OF THE TAIL has some incorrect writing credits:
"Robbery, Assault and Battery" - Banks (should be Banks/Collins)
"Ripples" - Banks/Collins (should be Banks/Rutherford)
"A Trick of the Tail" - Banks/Rutherford (should be Banks)
In my opinion, NO JACKET REQUIRED is basically an OK album for the most part, and "Inside Out" is where the song quality takes a step up. "Take Me Home" is another step up, and "We Said Hello Goodbye" (on the CD version) is a step up from that.
I know. To be fair, I did mention that in an earlier post in this thread.
Yes, sorry, I just noticed that. Anyway, I just meant that I was surprised not to see it mentioned in the Ultimate Classic Rock article.
Hmm... No mention of Beatles / SGT. PEPPER'S LONELY HEARTS CLUB BAND vs. Mothers of Invention / WE'RE ONLY IN IT FOR THE MONEY?
I can't help with your question, but did you ever try to find out what the "strange folk music" actually was?
One thing about Tony, as opposed to keyboard players in other bands that I listen to -- and it's not a criticism, just an observation: His major solos, such as in "Cinema Show," are predetermined rather than improvised. I can't think of any other keyboard player represented in my music collection who works that way.
