Posts by Witchwood

    Another that comes to mind...

    A King Crimson "Project" entitled A Scarcity of Miracles and released in 2011 featured, among others, Mel Collins, who was a member of King Crimson from 1970 to 72, and Tony Levin, who joined King Crimson in 81.

    Since 2015, the two have been part of the latest incarnation of KC but this lineup has yet to record a studio album under the name King Crimson.

    Rick Wakeman - The Red Planet

    (I think the hype surrounding this album is completely warranted. Very much in the vein and quality as Six Wives and Criminal Record)

    Fairport Convention - Fairport Convention

    (I have most of Fairport's output from the late 60s and early to mid 70s but the debut was always one I skipped past for some inexplicable reason. Judy Dyble's recent passing spurred me to rectify that omission)

    Dave Lambert joined the Strawbs two years after Rick Wakeman had left to join Yes.

    The two never played together but Lambert along with fellow Strawbs mate Dave Cousins are among the guest musicians on Wakeman's Six Wives of Henry VIII.

    The other one that comes to mind is Ron Wood and Mick Taylor.

    Taylor, who was replaced by Wood as lead guitarist in the Stones, guested on Wood's first two solo albums.

    Since then, I've listened to a lot of...

    Gentle Giant


    Bob Marley & The Wailers

    Peter Gabriel

    Plus been playing lots of East Indian music lately ... Ravi Shankar and Shivkamur Sharma being the two the most predominant

    Still playing a lot of Knopfler (+ Dire Straits).

    Besides that...

    Fairport Convention (+ Sandy Denny, Fotheringay)

    Roxy Music



    Huge loss. One of my favourite guitarists, with a beautiful tone and sound.

    I can listen to Peter Green and Danny Kirwin play off each other during a 25-minute version of Rattlesnake Shake and time just flies by.

    Maybe, those two can meet up in the afterlife and play some amazing music together again.

    RIP Peter.

    I was saddened the learn of the death today of Judy Dyble who was one of the founding members of Fairport Convention and had recorded several tracks with Giles, Giles and Fripp.

    Recently, I had learned she and David Longdon were collaborating on a new release, and as a fan of both Big Big Train and the various bands she has been peripherally involved in, I was looking forward to hearing the fruits from that effort.

    Her regrettable passing will no doubt play in my mind when that album is released later this year.

    I credit this thread for giving me the spark to explore MK’s solo works further and discover some great albums that I didn’t have before.

    Within a year I went from having one to seven albums of his, and I’ve still got my sights on getting more. He’s been my most-listened to artist in the last year.

    What initially brought me to the table with Dire Straits ages ago were songs like Lady Writer and Down To The Waterline where the guitar solos provide a compelling climax.

    What kept me there were the endearing qualities of songs like Portobello Belle and In The Gallery.

    I discovered his solo work favours his lyrical and melodic strengths.

    I think when I picked up that first solo album which I was initially lukewarm to, perhaps I expected more of a balance with stinging guitar solos interspersed throughout.

    Since then, after picking up more of his albums and broadening my expectations, I've embraced the subtle beauty of releases like Shangri-La or Tracker without feeling that there’s something missing.

    Since then, I've listened to a lot of...


    Bruce Cockburn

    Mark Knopfler

    Tragically Hip (+ Gord Downie solo)

    Van Morrison

    Things that divide fans are more likely to generate interesting or colourful conversation.

    If you started a thread entitled "I love A Trick of the Tail" I don't expect the discussion would get too heated in there. :)

    Others here share that view but sadly I thought they killed the song off. The first section was great but the instrumental I found terrible. It felt too 'light' and seemed to drain all the substance of the original. The inclusion of a shrill tootling flute was a ludicrous idea and made the instrumental sound silly and fluffy.

    It was a major crashing disappointment for me as it was the track I'd most been looking forward to and I was left crestfallen. It was a contributing factor to my deciding to not bother with any further Hackett Genesis Recycled shows.


    To be honest, I haven't heard a live version, even by Genesis, that matched the power of the original studio version.

    It's one of those songs that benefits, I think, from layers of different guitars and other instruments creating a full or unique sound.

    Even though I still enjoy the recordings of Genesis performing it live, there are elements in that second half that seem a bit glossed over.

    Of all the artists who died in recent years, Bowie’s death hit me the hardest.

    I attribute that to the fact I had recently reconciled with him and was in the midst of renewed appreciation and discovering some of the albums I had previously passed over.

    I was always a great fan of his work from Space Oddity to Scary Monsters, and never stopped playing those albums.

    But by the mid 80s, he had released a couple of albums I didn’t like and just stopped buying his new music, and stopped following him all together.

    What changed that was about three years prior to his death, I read somewhere his last few albums had been produced by Tony Visconti and these were highly regarded as a return to form.

    I hadn't heard any songs from these albums and was sceptical but curious. I went on YouTube and randomly picked out a song and I remember the first one I heard was “Days” from Reality.

    Right off the bat I was quite pleasantly surprised. I listened to a few more songs and then went out and bought Reality, and then Heathen and then The Next Day which had recently come out at that point.

    I liked all of them. I was becoming a fan again, even more so than I had been previously.

    I was even starting to reassess some of the 90s output that I had previously ignored, and then I heard there was another new album coming out, and I read Visconti was once again the producer and I was really excited.

    And then Bowie died.

    Just with the timing and my heightened level of interest in him at that point, it was bewildering.

    It was sad to lose him as an artist because I feel some of his last few albums were just as good and in some instances maybe even better that some of those he released during the mid 70s.

    Stagnation was always my favourite song off the album and it would probably be in my Top 10 overall for Genesis.

    In my teens, I thought The Knife was a powerful track and one of their best songs.

    40 years later, I think within the context of the album, it's still a powerful track and I still get an adrenaline rush from the intro.

    But that thrill doesn't last and I find overall I actually prefer the five other tracks on the album.

    Aside from Stagnation, I chose Dusk and Visions Of Angels.

    I like all the songs on W&W, but if I was going to make one of my favourite albums even stronger, I would have inserted Inside & Out in place of Your Own Special Way.

    Both are between 6 and 7 minutes long so it would have been doable based on limitations of album lengths at that time.

    Yes it is. Sorry, I should have mentioned that. This new version was made by one of the Digital Brothers but is not classed as a Digital Brothers release. It's an upgrade to the previous matrix version that was released a few years back.

    Very cool. I'll have to check it out. It's my favourite performance from that tour as well.

    If anyone is interested, on the Movement site, version 3 of the soundboard/audience matrix of the penultimate Genesis show from the Wind And Wuthering tour is now available.

    There are a few top quality bootlegs from this tour available but this show must surely rank alongside the very best of the Genesis bootlegs. Not much I can say about the recording, really; the performance speaks for itself.

    Is that Zurich?

    Where are you all at with 'recovery'? What is your new normal?


    More stores are re-opening and there is a growing sense of optimism unless you're in the highly urbanized Greater Toronto Area which has 40% of the population and 70% of the cases in the entire province,

    Everywhere else, there seems to be a favourable trend with COVID numbers going down or reaching a point where it's no longer existent.

    Stats are collected by individual health units and within my district, which is a fairly expansive area of 272,000 square kilometres and mostly rural, there hasn't been a new case of COVID-19 for more than three weeks.

    Most people where I am don't wear masks but they do follow distancing protocols. I don't detect any tension in the air amongst neighbours or when I go into town.

    But I do have some family members in Toronto and certainly their levels of anxiety and observation of ensuring others are strictly following the rules are much higher than mine.

    As others feel, I think several songs on this album came across more powerfully live.

    Some of the bits I love from live recordings seem almost subdued in the studio version. Two songs I thought really benefited live were Watcher and GEOBF.

    While Watcher has that goosebump-inducing intro, I always found GEOBF the more interesting and overall more appealing song.

    Supper's Ready and Can Utility are by far my two favourite tracks on the album and GEOBF would be my third.