Posts by Schrottrocker

Thank you!

Interesting topic, and yes I am interested too to know more about the keyboards he used - afaik mainly a Korg OW-01 on WCD - then again, funny to see one more time how much perception differs. Speaking for myself, I really like his sounds on Living Forever but I was never too happy with the keyboard solo sound he picked for Fading Lights. Dreaming While You Sleep I find very convincing, the keyboards really make the foundation for the dark atmosphere of that song. That's also the one that comes closest to what was to follow on CAS imho.

The worst keyboard sounds Tony would use were the brass sounds on CAS (prime example Small Talk) and some of his solo records.

Thanks for the interesting insights. I always wonderer what became of Mick Barnard after Genesis, are there any information? Also his band The Farm would be nice to know more about.

That Peter Gabriel letter to Kim Shaheen is curious too. Talking about the band working on "your" (Kim's) songs? A U.S. tour that was postponed to late in 1971? Looks like Peter was making things up to make Genesis appear more interesting?

Could we please stick to discussing Genesis in this Genesis forum? There are lots of fan forums out there for all the artists mentioned in this thread, anyone is welcome to join an Ed Sheeran forum and tell people there how relevant or irrelevant their idol is. For perspective, I'd suggest to tell people in Metallica/Slayer/Iron Maiden forums something about the relevance of Phil Collins or Genesis. See how they will react.

I wonder what exactly Mike's and Phil's issues were with this song. It is one of their best in this period.

I was really interested to hear a new side of Tony Banks but I found myself a little too unaffected. It is nice, it has these Tony Banks chord progressions we all love, it would make for really nice background music, still it failed to wow me. I respect it but it hasn't conquered my heart.

Steely Dan "Aja". Just can't go wrong with this one, one of the most perfectest albums of all time.

Finally a new album! Can't wait

I guess this one will feature the 2008 mixes? I have the original 1999 version, it still featured the original digital remasters. Quite noticeable in Follow You Follow Me, the end of the synth solo continues into the final chorus instead of being cut off as in the new mix.

I like it but it is by any means the weakest track on the Tarka album. The real orchestra works are much more interesting.

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.

Quote from Dr. John

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.

Quote from Backdrifter

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?

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.

It is good, particularly good as an album opener, but it is not my favorite on this album.

Quote from choccy

You can see that when they had the HOF induction with Steve there.

Really? That event felt like the suppressed tension of a divorced couple being forced to make small talk on a family meeting.

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.

Tony Banks at his very best. A masterpiece, clearly showing his real talent.

Quote from Micklemus

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.