Posts by Schrottrocker

    The performance is really great, I'd just say TIOA doesn't lend itself as an acoustic version but they did the best of it. The interviewing is cringe indeed. Ah, the nostalgia, good old days of music television in Germany when some ill-informed guy switching between German with English accent and English with German accent would ask stupid questions, trying so hard to be 'different'. For all you viewers who don't understand the German he talks: he tries to translate every answer of the band but he misses most information and messes up the rest of it. You really have to understand English to get sth out of the interview.

    Thanks Backdrifter, I wanted to start this topic for quite a while.


    Genesis can also create totally fine live endings for songs that originally had fadeouts. Firth of Fifth just took the repeated sequence to resolution. Ripples ended the repeated choruses the way they naturally end in the rest of the song. Los Endos has a perfectly good ending. Abacab has a great ending. Carpet Crawlers is fine with a gentle ritard. Afterglow has a majestic ending. It makes me wonder why they didn't try a little harder to end the songs for the studio versions.

    It is interesting that Supper's Ready and Carpet Crawlers kept the fade-out even in live versions! Or at least what an emulation of a fade-out becomes when played live. These songs cannot have a better ending, the fading is like the main hero riding into the distance at the end of a movie.


    Abacab has such a strong ending in all live versions. The studio version though features one of the most disappointing fadeout endings imho. The guitar solo has just begun - oh no, we're run out of time, sorry, gotta go... What's more, the single version is even worse. What if we recycle the intro as an outro, and - oops, the intro actually starts the song, who could have seen that coming, well yea, let's just fade it down. :rolleyes:

    A growing tendency with their later work and massively overused on this album. Am I right in thinking TDL is the only one with an actual ending?

    Correct. Fade-outs became the norm with Abacab onwards and persisted throughout all following albums. Trespass is the only album with no fade-out at all, most non-album tracks don't fade out either. On all other albums up to Duke they were used rather when they served the song, prime example Supper's Ready. After Duke they became a default mode standard. In defense of Genesis, these standard fadeouts were a real 80's thing, everybody used them. The 90's largely got rid of them. CAS is notable for still sticking to these fadeouts as if the 80's were still alive.

    You know you're a Genesis fan when you see a Genesis connection anywheres. Somebody talking 'bout a monster mouse?


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    I noticed this too, I was actually wondering if something is wrong with my sound card when I was listening from my PC or if those are MP3 artifacts? Strange thing.

    That aside, I can live with non-perfect sound quality since these are radio broadcasts. The '78 recording has a strange stereophony, the audience appears to be phase-shifted. I am curiuos which way this was recorded.

    Been listening to it all the last weeks, it is actually running right now in my CD player.


    I spent nearly an hour last night reading through reviews, in the end I found myself trying to find any positive reviews at all. This box set got an overwhelming number of negative reviews, the common complaint is "why didn't they release the full shows". Nearly every reviewer moans about what this release is not instead of enjoying it for what it is. On the other hand, wasn't this on #1 in the German album charts? I wonder if this is because people actually had to buy it to have a listen to it since it was never released on any streaming service. A 5-CD box set with unreleased material is definitely not what any "casual" fans would purchase in 2023.


    Anyways, I enjoy this a lot.

    a series of dull, unimaginative and sometimes cringeworthy meanderings which Ray was called in late to improvise some vocals over. If he was actually at the table as a proper writer and arranger, in there at the very beginning, Calling All Stations could have sent the band in an interesting new direction.

    There's only four songs that credit Ray as a co-writer. I wonder if 'Not About Us' is the only one out of these which he wasn't just responsible for the lyrics but for the music as well? That song always stood out for me, it shows what Ray might have added as a song writer, had he only had more chances.

    ^ I agree with all of this and I couldn't put it any better.


    I made a few efforts to check out Wilson's solo work and side projects, however in my book I found him to be a solid to good song writer and singer, yet it never went beyond the "yea, nice stuff" point. The special something just wasn't there. I haven't seem him live though, I think I should take that chance for once.

    Wasn't Peter talking in some interviews in the early 2000s about ideas concerning the Lamb story? A musical, a film, something had to be done with it. My guess was too that recording the vocals for Archive 1 plus Carpet Crawlers '99 must have set him on this track. Who knows, maybe he realised the most obvious path would be a Lamb reunion tour with his old band mates.

    Banks and Rutherford could both do a great lyric as well as ones that were awkwardly clunky (Banks) or maudlin (Rutherford). Collins sometimes could write a good lyric (e.g., Take Me Home), but I find many of his phrases kinda trite and obvious (e.g., Another Day in Paradise).

    Me being a non-native speaker, I had to look up the words "clunky", "maudlin" and "trite" as I wasn't familiar with any of them. I get what you mean - thing is, my mind just works this way, I don't know why - I was thinking right away that "Clunky, Maudlin & Trite" would be a cool name for a funny cartoon show about three dorks who try to be superheroes! ^^

    Other presenters on the same channel have played DWTMK and FoF.

    Lucky you! That would be a dream come true.


    At least we have a station here (SWR 1) that plays classic rock bands' longtracks in an evening show. They played Supper's Ready in full length.


    I am not either a regular radio listener, I hear radio mostly in other people's cars or homes. No surprises when it comes to Genesis songs: Follow You Follow Me, Land of Confusion, actually I can hardly recall any other Genesis song coming up more than once except these two. For Peter Gabriel it's Solsbury Hill or Sledgehammer, other Gabriel songs don't exist; Phil Collins gets still most airplay of all Genesis men. I can't even count how many times I've heard Another Day in Paradise. For Mike & The Mechanics it's Another Cup of Coffee or Over My Shoulder, sometimes Word of Mouth.

    11 for a good track. The live version is even better. Again and again we had these, well, interesting observations of how different us fans perceive songs. I can only speak for myself but I just can't get into the mindset of you guys who speak of too much musicianship in regards of this song. I respect your views but it is completely alien to me.

    It was even better live on the two tours it was played on with Phil's fun hero/villain intro, Mike's sterling bass work and Daryl's fast outro guitar.

    If I'm not wrong this was the only track off ATTW3 in which Daryl played guitar and Mike was on bass. I noticed this again when I was listening through the BBC box. It shows very clearly Daryl was a much better lead guitarist and Mike a much better bassist, a pity they would switch roles for most other new songs then.