On the 67-75 Archive Lamb live, on Anyway, PG sounds like he sings "(something-something) fish" instead of "time to meet the chef". A nice bit of in-the-moment authenticity in his overdubs there.
Yes, he sings "time to meet the fish." I wonder if he got tongue-tied on "chef."
There is a part where Phil sings a different lyric in the live version of ITC. The original lyric is "In a trap, feel a strap. Holding still. Pinned for kill." Not exactly sure what Phil sings in that part but I'm pretty sure it's on both the TSL and Live Over Europe versions of the songs. Does anyone have any info on that? Like what the lyric is, when it originated and why?
The different lyric was discussed in another thread (here). Basically, I hear Phil singing "Feel the fear, dressed to kill."
Hmm, perhaps not great, but not bad either. At first listen I'd say the melody and chords have sort of a "I'm running out of ideas for melodies and chords" feel to them (similar to what I hear in "Out Of The Body" from WOLFLIGHT). But, like FeelItComing says, it will most likely grow on me. I especially like the fact that the overall song structure is fairly basic (vocal part / quiet part / vocal part); I would have expected a new 7-minute Steve tune to go all over the place with no sense of direction (reflecting one of his more obnoxious tendencies in recent years).
Overall, LAMB is a problematic album for me. On the one hand, the music is incredible, with the band at or near their peak. On the other hand, the story -- however cleverly told in the lyrics -- just doesn't do much for me. At best, it's surrealistically strange in a way that doesn't quite capture my imagination. At worst, I find it rather unappealing. "The Lamia" may be the one track that best represents my mixed feelings toward the album.
On another note: LAMB gives me the impression that the listener is invited to come up with their own interpretations of it (though I'm sure this was not Peter's intention at all). Given that, I have my own interpretation of it which (1) is not thoroughly thought out, and thus is subject to variation; and (2) is not anything I would attempt to convince anyone else of. Part of that interpretation is this: that certain parts of Rael's experience/hallucination/drug trip/whatever are symbolic of various past events in his life. In the context of that, the Lamia/Slippermen sequence would represent a set of circumstances that was not, shall we say, the high point of his life.
The clunky fade-out on the Archive 2 version is annoying and unnecessary. There wasn't much of the track remaining anyway, why not just let it run to its nice original conclusion?
That always ticked me off too! Fortunately, someone (from the old board) supplied me with a flawless digital version of the full original.
Anyway, IY almost seems like it was made to be a B-side. I have a hard time picturing it as an album track.
There was someone on the old board who actually did edit the two songs together to see how it would sound.
As far as audible connections between the two, there is a part in the middle of "From the Undertow" that hints at "Undertow" musically, specifically the second section of the chorus ("Stand up to the blow...").
It's 'and I can say to you'.
However I do agree that the line is unsatisfactory. Say what to you?
Dang, yet another thing I've always heard wrong. I'll have to listen again.
"Say what to you?" I guess the answer to that would be "take me home"!
This would generally be considered the best song on NO JACKET REQUIRED (although I personally rate "We Said Hello Goodbye" a little higher).
Definitely a great song, but not perfect. To me, the line "I've been a prisoner all my life" sounds like it should be the first line of a short section (maybe just 4 lines long) that would be the emotional high point of the song. Instead, it just leads to the line "and I can see you," which sounds really anticlimactic to me.
QuoteGenesis fans may be interested to know that the backing vocals were sung by Peter Gabriel.
The full credit for backing vocals lists Peter Gabriel, Sting, Helen Terry & Phil.
mike didn't play bass on mike & the mechanics albums
According to who?
America still thinks Guns mean FREEDOM.. Lots of counties ban guns
As with many other issues, Americans are about 50/50 on this.
Half of them say that gun laws will keep guns out of the hands of crooks and loonies.
The other half say that gun laws are more likely to keep guns out of the hands of everyone else (i.e., those who need to defend from crooks and loonies), while the crooks and loonies will still find ways to get guns, or find other ways to kill.
I'll leave it to anyone reading to decide which one makes more sense to them. But, with most issues that Americans are sharply divided about, it seems to me that the more fashionable viewpoint on a given subject is usually not the one that's reflected in real life.
some strange string instrument in the first and second verse of Inside and Out which sounds exactly like that strange thing we can hear in Icarus Ascending (the part when the whole band fades out and only that instrument, whatever it is, remains for a few bars before the band joins again for the reggae and jazz part).
I think that's just a guitar sound. I've heard such a sound being done by momentarily turning the volume knob all the way down when the string is picked (to hide the "attack" sound), then immediately and quickly turning it back up. I'm not sure whether that's what Steve does on I&O or IA, but I imagine he's at least done it in other places.
What have the various Genesis members done on their solo albums that they never did with Genesis?
Here's what I can think of off the top:
TONY - bass
MIKE - lead vocals, keyboards
PHIL - keyboards
STEVE - lead vocals, backing vocals, harmonica, bass, various exotic stringed instruments
ANT - keyboards, various exotic stringed instruments
Can anyone add anything to the list?
I'm not that familiar with Peter and Ray's solo careers. I also can't recall if Steve ever played keyboards for his solo work.
(Note that I didn't include "lead vocals" for Tony or Ant because they each sang a partial lead on a Genesis song -- i.e., "Shepherd" and "Let Us Now Make Love" respectively.)
Gary is on the backing vocals of some of the songs on To Watch The Storms
On "Serpentine Song" (on the original release) the main voice I hear is Gary's. He also does all the lead vocals on the live tracks from the special edition of OUT OF THE TUNNEL'S MOUTH.
My favorite TRESPASS track.
On the old Genesis board I once cited it as containing my "favorite note" in a Genesis song: that very low "aaaaaah" at the end of the quiet instrumental section, helping to build tension to be released by the louder part. (I always wonder who sang it.)
Some of you may have heard the early BBC version, where the familiar ending section ("so let us drink") is missing, and instead there's a louder version of the vocal melody from the beginning of the song.
While we await the sudden influx of people's opinions on NC here's a review I recently came across on Julian Cope's Head Heritage site.
A couple of thoughts on the review:
(1) Artist "Paul Williams"? I think he means "Paul Whitehead." And I never heard it claimed before that he came up with the titles for the Genesis albums that he did covers for. Anyone else ever heard this?
(2) Regarding the first footnote: By the time this review was written, it was pretty much common knowledge that Ant wrote part of what became "Musical Box" but wasn't credited for it. I'm surprised that the reviewer didn't know this.
BTW, I really like the reviewer's take on "Hogweed." He describes things that I wouldn't have had the words for.
A CURIOUS FEELING (or, as I sometimes call it, "A Furious Ceiling") took longer to "click" with me than any other album I've ever had. I like the instrumentals on the album much better than others here do, but "From the Undertow" is my least favorite of the three. That said, I've come to appreciate it much more than I did originally. Personally, I think it was a good idea for it and "Undertow" to be separated rather than joined.
Various thoughts on NURSERY CRYME:
It's one of those albums that's hard for me to rank because I like most of the songs almost equally.
I find it interesting how new members Steve & Phil get highlighted on what's only the second Genesis track to feature them ("Friends").
CRYME may be the only Genesis album to have lyrical contributions from 5 different members. (I still don't know who wrote the lyrics to "Fountain" though.)
I get a kick out of "Hogweed." The instrumental break really sounds like something associated with a noxious weed!
Two more things about that segment: first, I always assumed it's Banks singing the "...she is a lady" backing lines - the voice has the same precise quality as his speaking voice. It's definitely not Collins.
...
By the way, I always thought it's Gabriel singing Harold. I know his delivery is a bit Collins-like, but it is him, isn't it?
"Musical Box": I think Tony & Phil sing the "she is a lady" part together.
"Harold": Peter sings lead, but Phil does sing behind him quite a bit.
My familiarity with PG's solo work is limited, so I only know the original version. But I consider it a definite highlight of his rather uneven first album.
Revisiting some things from earlier in this thread:
Quick, without listening first: Can you name the 3 songs on FGTR that only feature the band, without any strings or horns?
(Bonus tracks like "One Eyed Hound" don't count.)
Backdrifter got one of them (The Conqueror). The others are: In The Beginning & The Serpent.
The Magic of Time (early 1968 demos) 1/1/1968
...
Hey! (13 March 1968 demo) 3/13/1968
The Magic of Time: That can't be right, because John Silver plays on it but that date would put it before the singles with Chris Stewart.
Hey!: Assuming it's accurate that this track was recorded between the first two singles, then Chris Stewart must be the drummer on it. I'm guessing that he wasn't credited for it on ARCHIVE 1 due to an error?
No, but I've encountered a similar concept in a book about "Sniglets."
