From my favourite album, Spike, No Son & Jesus. The first three tracks! But Living Forever is right up there as is the title track. Also love Dreaming While You Sleep.
Recently added website content DJABE & STEVE HACKETT: "Back To Sardinia" - 2CD/DVD review ANTHONY PHILLIPS: "Strings Of Light" - review STEVE HACKETT: "Genesis Revisited with Band and Orchestra" - detailed Blu-ray review ROCKING HORSE MUSIC CLUB: "Which Way The Wind Blows" - guest reviews GENESIS: 50 years ago today, Genesis played their first ever concert (26/10/69)
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Seriously.... this is a band I knew nothing about until I started reading Prog magazine. I had a look at the tickets & got front row. You would not read about it - how could I turn that down? I suppose I will be untypical of their audience. I might wear my Land Of Confusion T shirt.
He was a very talented songwriter. But I always thought he tried 'too hard'. I get annoyed by the intrusive use of female backing singers & the word 'beauty' occurring in so many of his songs (including the sacred Hallelujah). Having said that I like Suzanne, Democracy, The Future, Bird On A Wire, So Long Marianne, First We Take Manhattan, Take This Waltz etc a great deal. I just feel there are many other songwriters who weren't so heavy handed in what they tried to say.
Yesterday - makes you realise yet again how much you love the Beatles & how empty a world without them would be!
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What about the 1983 album by our favourite band?
It just says Genesis on the cover, but is it called Genesis and have they left out the band name, or is it just the band's name? Same question for Abba (1975), Big Blue Ball (2008) ... and many other albums where the title is the band's name (or vice versa).
Enya's Watermark does not have the title on the cover, IIRC. Neither do Neneh Cherry's Raw Like Sushi and the original version of Stiltskin's She.
If you're going to include albums where the title is the band name, then:
The Beatles (White Album)
Crosby, Stills & Nash
Elton John etc etc
When I got my first CD player in 1986 I bought about 10 CDs. They included Band On The Run, Brothers In Arms, Dark Side Of The Moon & Beethoven's 9th conducted by Karajan.
I have no idea when I started buying Genesis related CDs. I would have bought We Can't Dance when it was released. I have found some old diary notes which state that I bought Invisible Touch on 15/5/92. These notes also state that I bought But Seriously on 6/12/89 and Us on 16/10/92.
Not the first time an artist feels strongly about an album and fans don't respond to it equally enthusiastically. When Phil released I can't stop loving you which is not his but he thought it was a good idea to cover, I remember thinking that if he had released that song in the 80s, at the peak of his success, when I was in my 20s, I would have probably loved it. After all, who hasn't had a teary good-bye at a railway station? When it came out though, I simply dismissed it, it simply wasn't for me anymore but apparently as far as Phil's music was concerned, time had stood still. As I sad, too many sappy love songs can make you deaf and insensitive, even when it's real.
The only thing I would say about I Can't Stop Loving You is that I would rather listen to it than the Motown stuff. Peculiar choice of a minor song.
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You got a point here
But ... stuff like We're Sons Of Our Fathers and Survivors wasn't something I was expecting at the time. I like both tracks because they are quite unique.
I do like both of those songs, but the line in We're Sons Of Our Fathers about wondering if there was more 'respect' when Phil was younger made me cringe somewhat. 'It was better in my day.... those young ones don't know they're born' etc. It made him sound like the Tory voter people accused him of being.
I believe it would be very hard for any fan to maintain that he has ever reached the peaks of ITAT again. That is a classic and though he has written some very good songs, I don't think he was ever able to replicated that kind of intensity and uniqueness but obviously that's me, There was another point I didn't bring up because it was even more subjective than the ones I mentioned, I might as well though. Someone said love songs are the easiest to write, good love songs though, are the most difficult ones. I'd agree and the reason is simple: they work better when they are heartfelt. Phil was going through some changes in his life and felt the need to pour his heart out on a record, I can totally see why for him the thought of going back to Genesis and sing Tony's lyric had become unbearable but IMO and it really is a personal assessment, as a writer, he lacks the depth needed to make those songs really compelling. So, you are a middle-aged pop star, going through another divorce and rekindling an old flame. I can see why it is important to him, others might not relate.
You listen to something like Please don't ask and anybody who went through a divorce knows exactly what he is singing about. It's straightforward, plain but it works because it's heartfelt and that is palpable, it works with his angry songs too btw. as long as they are real. Phil, as far as I'm concerned, cried wolf too many times in his career, too many sappy unrequited love ballads made ME less receptive when it was finally about something real. I never really rated him as lyricist, I must say and for me it only worked when he was really angry: I don't care anymore or really down: You know what I mean otherwise he would mainly write cliches-ridden stuff and it would apply also when he would have a go at social issues: Another day in Paradise or tragedies: Singe I lost you.
Yes. Well said. Those later songs, 'real' though they were, didn't SOUND 'real'.
Regarding Both Sides you can read some of my comments earlier in the thread. Regardless of how 'personal' an album is to the artist himself, it isn't necessarily going to come over that way to the fans. To me it just sounds like the same songs he had already written, which were more powerful, more angry & far superior musically. I have tried & tried to put myself in his shoes while I listen to it & I just can't. But I can do that for the first four albums, especially Face Value.
Regarding the 'anger' stuff - those songs, such as Do You Know, Do You Care & I Don't Care Anymore are far more effective than the weary resignation of I've Forgotten Everything., If that says more about me than it does about Phil, it can't be helped. He did something unique with the earlier songs - and ITAT, of course. He doesn't do that with the Both Sides songs.
A few personal views about individual tracks in response to observations and comments I've seen made over the years, stemming back to the old Genesis forum...
I've never been that big on the title track - I actually find the opening a bit jarring - yet I've always found it curious it's often one of the songs fans include on their list of favourites from CAS.
Conversely, a lot of people don't seem to like the two singles - Shipwrecked and Congo - though I always thought they were among the best half-dozen songs on the album (despite neither being in my Top 3).
Another popularly held view I never agreed with was the idea Genesis chose the wrong songs to put on the album. For me there might be one track, Nowhere Else To Turn, that I sort of wish made it on the album but even then, I would not insert it at the expense of anything that's already on there.
I voted for both Congo & Shipwrecked, which are great songs, plus the title track.
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I've got one. Flamingo from the Living Room Concert. What a great track! I love that Spanish style music & it's a bonus that it's Ant playing it.
Thanks for reviving this Alfred! Will it last? Let's see..
Long Cool Girl - Mark Knopfler
I don't know if I would go that far - I just think it's simply stating that he thinks Tony's work is similar to Genesis without Phil's vocals. That's the easiest thing to say, because then you don't have to analyse Tony's work on its own merit.