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."
I've never had a music video affect my opinion of a song one way or another. I guess I could say that my main issue with music videos is that I usually find them irrelevant to their songs.
Why is it that a low voice is called a "deep" voice, but a high voice is not called a "shallow" one?
horrocious - Really awful. (Combination of "atrocious" and "horrid/horrible/horrific".)
As with most other pre-1980 Genesis albums, I first heard SELLING after buying a full collection of past Genesis albums in one day in 1982. (The exceptions were NURSERY CRYME & FOXTROT, which I'd already heard.) And like most Gabriel-era albums, it really didn't click with me right away.
I've now come to appreciate it as being (IMO) the best Gabriel-era Genesis album.
BTW, I'm much easier on a couple of its songs than the linked-to review is.
"Epping Forest" is probably my least favorite song on the album, but I still have a higher opinion of it than the reviewer does.
And while "After The Ordeal" is unavoidably a minor Genesis song, I still consider it a nice -- even essential -- bridge between "Epping" and "Cinema." I'm glad it made the album.
"Tony in particular called the album 'ridiculously long'. A playtime of 53:42 minutes is not impressive anymore in the CD age, but at the time it was very long."
Odd that he would say that. Actually, SELLING wasn't much longer than FOXTROT. And Genesis continued to make studio LPs over 50 minutes all the way through DUKE. (And I'm glad they did too!) That includes Tony and Mike's first solo albums as well. And that's not even mentioning the length of LAMB...
Did they ever play Entangled live with the three-part vocal harmony?
Yes, I think we hear that on ARCHIVE 1976-1992.
I just noticed that the better Phil sang live, the less they seemed to care to contribute to the backing vocals.
I'm sure that's true up to a point, but notice this:
SECONDS OUT: A few songs have backing vocals by Tony & Mike.
THREE SIDES LIVE: There are hardly any backing vocals at all. (I think only "Abacab" has any.)
THE WAY WE WALK: Several songs have backing vocals by Tony & Mike (& Daryl).
I guess Tony & Mike got a little more confident with backing vocals after singing on their own solo albums?
I was originally going to make this comment on the "TOTW - Duchess" thread, in response to a comment about the song's music video, but I decided to make a new thread instead (so as not to hijack that one).
Personally, I have rarely, if ever, thought that a music video really added anything to a song. I've gone so far as to say "Music videos are one of the most useless art forms ever invented."
Or, as Frank Zappa once said, "Music videos are one of the best things to happen to marketing, and one of the worst things to happen to music."
Am I the only one here who really doesn't care for music videos?
I personally don't think the live versions came anywhere near the original
I always thought the THREE SIDES LIVE version was really inferior. Phil ruins it by changing words ("all the children cried") and by how he sings some parts ("and the sleep, and the o-o-o-odds"). And it's just not the same without the multiple voices on the chorus.
An album full of many great tracks and Duchess is one of the best.
Agreed.
BTW, I think this is where Tony & Mike earn their "backing vocals" credit on DUKE.
Medford, Medhurst.... sorry, I didn't have the CD in front of me and was going by memory!
On PRIVATE PARTS & PIECES IX: DRAGONFLY DREAMS, the vocal on "She'll Be Waiting" (the only vocal track) is credited to "Terry Medford." This is obviously wrong as the vocal is clearly by Ant himself.
Does anyone know anything about the meaning of this credit? It doesn't seem strange enough to be a joke, and the song is not one that even Ant would be likely to make a joke about. I've wondered if "Terry Medford" is actually the sampled female voice on "Night Song."
Anyway, doing a Google search for "Terry Medford" didn't turn up anything helpful.
If it weren't for "Inside Out," "Take Me Home" and "We Said Hello Goodbye" (my favorite Phil solo song), I might not even own NO JACKET REQUIRED. That said, "Long Long Way To Go" isn't bad. Subject-wise, it seems to belong on BUT SERIOUSLY.
