Posts by DecomposingMan

    I always found the cover of ACTING VERY STRANGE rather amusing. I don't quite understand all the hate for it. It's not as bad as some of the singing on the album, anyway...

    As I've mentioned, I don't care for many of Kim Poor's covers for Steve's albums, including VOYAGE. She did do some good ones, though, and I agree that PLEASE DON'T TOUCH is one of those.

    A lot of my favorite Genesis solo covers are from Ant. Peter Cross's LP covers always give you lots to look at, especially on BACK TO THE PAVILION. The downside is that they lose a lot when reduced to CD size. For that reason I've kept most of the LPs even after getting the CDs. NEW ENGLAND is a case where it never was an LP to begin with, but it looks too small as if it actually was an LP cover shrunk to CD size.

    Steve speaking in an interview about the cover:

    "Kim (Poor) was never happy with the sleeve design. It was a painting of hers that she'd already done in oils, and I said, 'I think that would make a marvelous front cover for something.' She wasn't so sure... For years, Kim had said, 'If you'd let me one day, I'd really like to do something else with this... another kind of cover.' So, who was I to argue at this point? If the original artist was unhappy..."

    Thoughts about some of the songs:

    "Kim" - This is improved over the original mainly by the added flute parts, but I think the chimes are a bit much.

    "St. Elmo's Fire" - I consider this the Hackett piece that reminds me the most of something Ant Phillips might do.

    "Second Chance" - This is a different recording from the 1981 B-side, correct? I would assume so since the B-side version was a bonus track on the CURED remaster.

    "Tales of the Riverbank" - Same question as with "Second Chance."

    I can see why people would have thought it was heresy to remake a Genesis song.

    I didn't really have a problem with a Genesis song being remade. I didn't even really have a problem with Phil's arrangement of BTL. I think what annoyed me in the past was the way the lyrics were messed with. (I've also found it annoying when Phil has messed with the lyrics of Genesis songs performed live.)

    Contrary to what seems to be a popular misconception, "A Call to Arms" did not emerge from the "Shapes" sessions as anything close to a complete song. There was just a "bit" from the rehearsals that neither Tony nor Phil wanted to develop further, which Mike built a song around with his M+M cowriters.

    HIGHLY STRUNG can perhaps be considered the album where Steve made it clear that he was going to be doing most of his own singing going forward. With HS, Steve became the first (and only) "non-singing" Genesis member to sing lead on more than one entire solo album. It may not be Steve's best album, or the one with his best vocals, but it's a consistent work.

    On the original release "Camino Royale" is the opening track, but I prefer the U.S. LP track order that has it as track 3.

    Note that "Camino" centers around an instrumental theme that's also heard in "Cell 151" and comprises most of "Hackett to Pieces."

    1. When did you buy Selling England By The Pound (or have received it as a gift)?


    2. How old were you when Selling England was released?


    3. Was Selling England your first Genesis album? If not, how many Genesis albums did you own before getting Selling??

    No. I bought DUKE first, then bought almost all of the rest of the band's albums (FGTR thru ABACAB) on the same day in 1982. (I had to get FOXTROT a little later as it wasn't immediately available, but I'd already heard it.)

    4. If you had to rank all Genesis albums, where does Selling England stand?

    I'd say 4th

    5. Which track was your favourite when you bought the album?

    The Cinema Show

    6. Which track is your favourite today?

    The Cinema Show

    7. Which track do you think is the best track on the record despite your own taste?

    Dancing With the Moonlit Knight

    8. How many versions of the album have you bought / owned? (Vinyl, CD, Remaster, Cassette, SACD etc)

    1. Vinyl LP

    2. CD (Definitive Edition Remaster)

    To be fair, that is easy for any keyboard player with the right keyboard.

    That was actually the point of my joke: Holding down keyboard notes for a long time really isn't an accomplishment!

    the Mellotron can only hold a note for 8 seconds, due to the tape length, but on "The Voyage" on the Moody Blues "On The Threshold Of A Dream", Mike Pinder holds a note for 11 seconds, without studio trickery. How?

    I have no idea, but I've heard that he was able to do things with the Mellotron that others couldn't.

    the 3 [instrumentals] on ACF are just lifeless filler.

    Wow, I don't agree with that at all.

    OK, here's a Genesis-related album that doesn't seem to have been discussed much around here... What do you think of Tony's SOUNDTRACKS album?

    I didn't know the album existed until I came across it in a used record shop within a few years of its release. I bought it right then & there.

    At the time I didn't know who Fish was, and probably had not even heard of Marillion. I initially didn't like any of the three singers' voices, and still don't care much for Jim's or Toyah's. (Jim sounds better on the song he did with Steve Hackett. I've never heard anything else sung by Toyah.) Nonetheless, I consider Toyah's track ("Lion of Symmetry") to be a highlight of the album. On my CD copy of the album, "Lion" starts out too loud and has inconsistent volume until a minute or so into the track; I had to do some work on it with recording software to get it evened out.

    Overall, the synthesizers and drum machines are typical in their '80s cheesiness, but I'm accustomed enough to '80s sounds that this doesn't bother me much.

    "Quicksilver Suite: Gypsy" is nicely creepy. Like a lot of the music on the album, it's clearly better than the movie it was recorded for.

    "Redwing Suite: Redwing" has some interesting keyboard effects and is my favorite of the instrumental tracks. For the record, the initial (rather weird) chord is held for a full 1:26. (When I listen to this track, I recall Steve's "Twice Around the Sun," which he claims has "possibly the longest sustained guitar note in the history of recording" -- i.e., about a minute -- and jokingly think, "Well, Tony topped that with his sustained keyboard notes!")

    The music to "Redwing Suite: Lorca" was recycled in the BANKSTATEMENT track "Queen of Darkness" (which I consider to be much better).

    I have several soundtrack albums from movies I've never seen (and probably wouldn't want to see) just because some or all of the music on each is from an artist of interest to me. The one movie I have seen related to a soundtrack album I have is "Quicksilver," which a friend showed me a tape of in the early '90s; I watched it simply so I could see how Tony's music was used in it. As it turned out, Tony's instrumental tracks (adding up to a mere 12-1/2 minutes) managed to serve as almost all of the background music for the film, which seems pretty atypical. (I recall there being just one short section of background music that was clearly Tony's but wasn't on the album.)

    This was actually the first Ant album I ever heard, within a year or two of its being released. At the time it seems to have been the easiest Ant album to find, either in the cut-out bin or as a used LP.

    I prefer "1984," both parts, over "Prelude" and "Anthem."

    I eventually got the 2-disc extended version, signed by Ant. It has a nice collection of bonus tracks that aren't just alternate mixes of tracks from the album. Besides the alternate "Anthem," which has a very different feel without the drum machine, I didn't care to hear the alternate mixes again after hearing them once.

    In retrospect, I don't consider HORIZON to be Steve's "last great solo album," but think of it more as being the first of his "not-so-great" ones -- not terrible by any means, but in roughly the same category as the albums that followed it.

    Random thoughts (some of which I've said here before):

    - There's an odd gimmick, on this album only, wherein 2 consecutive tracks basically sound like one longer song -- i.e., "Loch Lomond"/"The Phoenix Flown," "Wanderlust"/"Til These Eyes", "Prairie Angel"/"A Place Called Freedom," etc.

    - "A Place Called Freedom" (in combination with its aforementioned intro) is, IMO, the album's best song.

    - "Catwalk" has a serious "chorus problem." It's like Steve literally didn't know what to do between the verses.

    - I always considered "Turn This Island Earth" to be pretty much a mess. When I made a CDR copy of the album for car listening, I put this track at the beginning so as to basically "get it out of the way" first.

    (Bonus disc:)

    - "Four Winds: East" (which, as has been discussed here before, is basically a rip-off of an old Peter Green composition) is identically the same track as the Japan-only bonus track from DARKTOWN "The Well at the World's End," except that the beginning and end have been trimmed a little. To avoid redundancy I left this off of my CDR copy of the album. Fortunately, "South" happens to flow nicely into "West."

    - The classical piece "Pieds En L'Air" is not only not a Steve original, but he doesn't even play on it.

    - "Enter the Night" is the third incarnation of the tune previously known as "Depth Charge" and "Riding the Colossus." IMO it manages to be one of Steve's best attempts at writing a straight pop song.