Only when he was smoking with Chester!
That too.
Posts by Fabrizio
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I seem to remember that the issue was that Tony simply felt self-conscious about the fact that all eyes would have been on him and that would have made him feel uncomfortable, not being the most natural performer. and prone to mistakes. I should go back and look up the statements but that is my recollection of it.
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Somehow related I guess: I just watched Paul McCartney Carpool Karaoke with James Corden on YouTube and Yeah, I am a total wuss, I got bit emotional there. Shame on me!
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Awaken with Close to Edge close second.
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Yeah, I don't really know what he means by 'feminine' in relation to that album. If he's suggesting that a couple of love songs equates to a more feminine album, then surely ATTWT and Duke would be considered more feminine than W&W.
I think W&W could be considered more 'prog' than ATOTT It falls into what could be considered symphonic prog rock cliches at times, with the big keyboard chord progressions and 'predictable swirling dynamics' (Tony Bank's words - not mine) I still love it though. Certainly, One for the Vine, EEOM, and Unquiet Slumbers/In that quiet earth are up there with the very best of Genesis for me.
I really don't know what he meant by that, I just find funny the fact that he, himself contributed heavily to a feature that, apparently, in his mind is a flaw.
Duke, a couple of love songs notwithstanding, has imo much more grit, energy and edge to it than W&W and ATTW3. I like W&W a lot myself, not as much as Trick though and although some songs are brilliant, it is imo the moment where things began to be a bit formulaic, not as fresh as they were and they were starting to drift towards a certain 'blandness'.
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an obvious attempt to appeal to an audience that didn't like its ears challenged.
An interesting point. I don't think there was any sort of appetite amongst their fan base for a song like that but perhaps they were starting to think about branching out. Am I the only one who cannot imagine Peter singing something like that? Interestingly enough Mike referred to W&W as their 'feminine' album,. I wouldn't know about that, although there is, at places, a feeling of blandness or excessive smoothness pervading it imo. I just find funny that his individual contribution is by far the most 'feminine' song on the album, to put it in his terms.
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This silly question reminds me of a psychometric test I sat many years ago, specifically one question: "Would you rather be (a) a vicar (b) a helicopter pilot (c) something inbetween"
I hope it wasn't for a job interview but it's quite simple: a helicopter, definitely a helicopter.
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By the way, Lennon was known to be quite fluid in his opinions of Beatles songs and their meanings.
In all fairness Lennon was quite fluid about….Well, everything. I love his music but I really could have lived without his rambling, incoherent interviews.
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I agree. There's so many bands that I love it's hard to list a good order of top artists... Beatles will always be up there with the best IMO ....
Referring to Bond, my favourite top 3 are Daniel Craig, Sean Connery and Roger Moore in that order.
Sean aside, as I said. Craig is the Boss
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It occurs to me that I never mention them as my favorite band but it's like Sean Connery with James Bond: as far as I am concerned, there's him and then there's the rest. I discuss the others. The Beatles are a class of their own.
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It was a radio hit for Steve Hackett with Paul Carrack when he covered it on Genesis Revisited in 1995. By radio hit, I mean it was on "heavy rotation on BBC Radio 2, the most listened to station in the UK.
Fair enough, Steve's version is vastly superior.
I agree, it is a better version, at the same time though, the schmaltz factor is increased exponentially. Also, Paul Carrack delivers it much better than Phil who at the time was still a bit 'green' as a singer.
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I got into music because of them. I picked up the guitar because of them and I started learning English because of them. So, they were quite significant to me.
I would tend to say that Rubber soul, Revolver and Abbey Road are my favorite album but the truth is that, depending on the mood I can enjoy any of their album or song. They just put me in a good mood.
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The one bit that always bothered me about it is the initial transition from verse to chorus. The shift from the classical sound to the country sound always grated on my ears at first - I'm more tolerant of it now. Now the shift back from the chorus to the verse always seemed fine, as well as the second transition from verse to chorus - it was the first transition that always bothered me at first.
That, apart from the cheesiness would be another problem; it sounds a bit stitched together and not very smoothly. The verses and chorus, as you said, sound awkward together and I would add the solo which is quite uncharacteristic of Tony, I wonder if Mike wrote it. It is delicate and reminiscent of some Vangelis stuff but again, it sounds quite divorced from both verses and chorus and at the end of the solo , when the verse resumes, there is no feeling of a smooth transition.
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I can take it or leave it. I used to like it when I got the album, then it got a bit too cheesy for me. I guess I listen to it for old times' sake.
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It also bothered im that Gabriel took complete control of the lyric writing and story board. He said he liked individual lyrics, but found the overall concept rather weak.
I guess that was a particularly sore point for him, as the the two of them would feud often within the band. That said, I believe he had a point, the story is dodgy. As a Gabriel's fan, I heard Peter many times defending the concept and the story but I remained unconvinced. Brilliant lyrics though, his finest work up to that point in my view.
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To me, the attraction comes mainly from the ghostly atmosphere created by the keyboards and guitars working so well together. The mellotron against those guitar chords on Fly on a windshield. The organ riff, against the driving rhythm on In the Cage, the beautiful piano on The Lamia, the chaos of the Waiting Room.
The story I'm less interested in, but individual lyrics are some of Gabriels best IMO. I also like the contemporary, although other worldly feel of the album. The fact that is such a departure from SEBTP and ATOTT, makes it sand out in the catalogue as a brave and well executed experiment. There ae mixed feelings about it within the band. Oddly - perhaps - Collins really liked it, but Banks was quite critical.
I agree: such a radical departure nor only from SEBTP but also from what other prog artists were doing at the time. Clearly Peter was done with certain lyrics and atmospheres, for him at least, that chapter was closed, not so for the rest of the band evidently, although I suspect, Phil would have gladly gotten along. I can understand that drifting away from familiar themes might have turned off some fans although personally I am glad we didn't have a double, concept album based on the Little Prince
One thing I noticed about the detractors' front is that it is quite heterogenous, meaning they have different reasons for disliking it. Clearly the fan who got on board with Tarzan's soundtrack by Phil will have a hard time appreciating when going back, but also fans who were more comfortable with the previous records were a bit disconcerted. Some I heard, think it's too easy and some others think it's too intricate and it's all good and valid. The only thing I would push back against, if I were interested I guess, is the notion that it lacks quality and the music or the songs are subpar. It is imo demonstrably not true. -
I'd sit back with my arms folded and watch with interest if any Lamb fans do show up to try "explaining" its attractions, though.
I have been guilty of that I confess….A couple of decades ago though. Now, as I said I lost any appetite for it. I might still enjoy the debate with someone who is really familiar with the record: meaning he knows the track listing, knows what the story is about, knows the lyrics or at least the gist of it, perhaps the chords, can hum the tunes and perhaps can appreciate the musicianship displayed on it. It hardly happens I found. The point still remains though: 0 interest in defending it, even when it's being trashed and it happens and 0 interest in extolling its virtues which remain many imo.
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Opinions of course. Personally I find it quite humorous.
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The :Lamb does divide opinion, but I aree with Fabrizio. The music is exceptional on the Lamb. There is some what I would regard as 'filler' mostly on side four, but overall I can't fault any song. My least favourite is probably Cuckoo Cocoon and Anyway (and they're fine) The Lamia and Chamber of 32 Doors are among Gabriel's finest vocal performances IMO.
The Lamb is a unique album in the Genesis catalogue, and while it may be flawed in places (and I can take or leave the story) it remains a 'flawed masterpiece'
I hardly know of any fillers-free double album or album for that matter. The Lamb certainly has its share of those but in regarding it as a whole, as one should imo, since it is a concept album, I think it is quite solid. It is true that the 4th side is weaker than the rest and I said many times they should have had a stronger song than It to close it, still, the music is exceptional in my view.
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I was being silly.
It's OK, I understand MMM is not amongst your favorites.
