Thief is actually my favourite soundtrack from Tangerine Dream
Interesting. I'll have to check that out.
Of the soundtracks, Sorcerer is the only one I have right now.
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Posts by Witchwood
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Very difficult to narrow it down to 10 tracks but I'll play...
10. Back In New York City
This was my favourite Genesis song when I was in my teens. It was powerful and immediate, and decorated with some interesting sounding keyboard playing. Obviously it's still one of my favourites, just not No. 1 anymore.
9. Stagnation
I imagine "The Knife" would have been very exhilarating to hear in a live setting (sadly I can't speak from experience), but for me "Stagnation" was by far the most appealing track on Trespass and the one most likely to cause goosebumps to rise.
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A story I have shared before…
As an impressionable 13 or 14 year old, my musical tastes tended to mirror those of my friends and I was content listening to the likes of Rush, Supertramp, Led Zeppelin, ELO, Black Sabbath, Nazareth, The Stones and a few other bands that most people would consider classic rock.
I still like all of that music.
And then it seemed as if overnight I had missed a memo, and all my friends were praising the likes of Motorhead, Judas Priest and ACDC – and everything else we’d been listening to up until then was suddenly deemed inferior.
I didn't share their newfound enthusiasm for headbanging music nor their dismissive view of the music we'd been listening to.
This spurred me on a journey to find my own music, things that I discovered on my own. I started listening to late night music programs where they would talk about bands and play new releases in their entirety.
And I started discovering bands that I felt truly reflected my own individual interests and taste – stuff like Genesis, Yes, Strawbs, Traffic and Santana.
The first time I recall hearing Genesis on the radio was 1978.
They played a couple of songs off the new album (“Deep In The Motherlode” and “Follow You Follow Me”).
I specifically recall saying to myself, “Now, that is a singer I can listen to.”
It might have been a day or two later, I went out and bought ATTW3; fell in love with that album (I still do) and started working my way backwards.
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Peter Gabriel
Porcupine Tree
King Crimson
Van Morrison
Cream
In the last month, since the last time, it's been a lot of ...
Pete Townshend
Bruce Cockburn
Bob Dylan
Strawbs
Yes
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It took me at least three months before I started warming up to the CAS.
One of the great strengths of Genesis, for me, was the distinctive and appealing vocals - Peter's and Phil's individually or together. The band was blessed in that respect.
In contrast, I felt Ray's voice was generic and bland.
And to some degree I still feel that way today even, though I have long overcome the impediments that arose from me comparing him to his predecessors..
That was the key. I had to try to listen to CAS in isolation and stop weighing its merits against other Genesis albums.
So I thought: What if this wasn't Genesis album? What if Tony and Mike teamed up for a solo project and hired Ray to sing these songs, what would I think?
Right off the bat, I thought, well it would be the best thing Tony has done outside Genesis since A Curious Feeling and the best thing Mike has done since Smallcreep's Day - and I love those two albums.
And that immediately opened the door for me to listen to that album in a different context and evaluate it on a different level.
I know it sounds like putting blinders on but once I redefined what CAS was in my mind, I could start judging it on its own merits.
At the end of the day, I don't think it's anywhere near the class of great Genesis albums - but within the context of other albums that have come out of the Genesis camp, I would place CAS up there among the best.
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... I really love the 1968–1972 era ... I often listen to bootlegs from especially this era and find them more interesting than the studio albums. ...
Totally agree. For me, especially 69-70 when they were playing tracks like "Cymbaline," "Green Is The Colour" and various songs from AHM.
Once they started touring Dark Side, they seemed more focused on their visuals and less with on-stage improvisation, though they did do some interesting versions of “On The Run” leading up to the release of that album.
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I wonder if he chose to do this because he felt this era of the band was underappreciated, or in honor of the early years box set, or both.
Any ideas?
When I learned about this tour, I was reminded of an old interview I read from around the Dark Side era in which Nick spoke quite fondly of Saucerful of Secrets, saying it was an album that he could put on and still enjoy listening to in the comfort of his own home.
Perhaps that's not too surprising if you consider there are a couple of instrumental passages where he is prominently featured, especially the title track.
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I bet those three 80's albums upset a lot of old school KC fans at the time, but equally I bet many of them grew to love them, once they figured out was Fripp was doing.
I can see how someone might find the industrial, guitar-based sound of Discipline a bit jarring if they are only familiar with the early mellotron-soaked albums.
But I didn't think Discipline was that far of a leap from the Larks Tongue to Red era that preceded it.
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I'm a fan of all eras of Crimson.
I recall when Discipline came out, I thought, "wow, this is brilliant, this is their best album ever" (to this day, I still rank it No. 1).
And then I started playing it to friends saying, you've got to hear this new album.
Of course, their familiarity with KC was limited to ITCOTCK.
I recall their reaction - one friend told me, "I can't believe you like this."
They just couldn't get past Adrian Belew's voice.
My biggest regret was not seeing them on that tour when I had the opportunity.
None of my friends wanted to go see them, and back then, in my mid teens, the idea of going by myself to a concert was just out of the question.
As it turns out, the one time I did go see them which was in Nov. 2015, I didn't even ask anyone. I went by myself and had a thoroughly enjoyable evening.
In fact I now have a nice memento in that the Live in Toronto release that came out a couple years ago was recorded the night I was there.
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I love the stuff he did with Clapton, as a drummer and producer. It's unfairly maligned in the eyes of many Clapton fans, but I thought it was the first time in ages Clapton's guitar sounded like it wasn't recorded in a cardboard box. Just Like A Prisoner and Same Old Blues on Behind The Sun, and Holy Mother from August are up there with Clapton's best for me. I've also read several times that for the tours he did with Clapton, Nathan East, and Greg Phillinganes as a four-piece, Phil considered it to be one of the best bands ever.
As a long-time Clapton fan, I embraced Behind The Sun as a welcome change after a dozen years where Clapton seemed quite settled on playing and recording persistently in the style of JJ Cale.
I saw him on the Behind The Sun tour (unfortunately at that point without Collins in the lineup) and I recall thinking Clapton seemed revitalized with this new album.
So I have fond memories and a sympathetic view of the changes brought on by those Collins-produced albums, even though admittedly I think they sound like a product of their time – more so than any other era of Clapton’s music.
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The reference is on the album that Phil Collins appeared on the track "ICE"
Is that actually in the liner notes of the album or just the press release?
Either way, I can't help but think that's an error, especially when the two tracks you can clearly hear him playing on aren't mentioned.
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I thought it was on "ICE" track he appeared on.
If he plays on “Ice” as well, I can’t hear him.
There’s no extra layer of percussion in that song – and there is nothing revealing in the drum playing that suggests to me it is anyone other than Andy Ward driving that beat along.
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I didn't know Phil played with Tears for Fears. Had to go look that up. Sure enough. He comes in halfway through Woman in Chains. HA! I've never seen a "half-song" credit. Wiki says that he was brought in to give the song a jolt halfway through (ala In the Air Tonight).
He does the same sort of thing on a couple of tracks on I Can See Your House From Here by Camel ("Your Love Is Stranger Than Mine" and "Hymn to Her").
He comes in and adds another layer of percussion. His appearances are fairly brief but his playing is recognizable.
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I was 13 and bought two albums at once - both were respectively the latest releases of these bands at that time:
Rush - A Farewell To Kings
Styx - The Grand Illusion
The first CD I bought (I didn't even have a player to play it on then) was Van Morrison - Common One
I seem to recall I was having difficulties finding it on LP or cassette but then there it was on CD so I grabbed it.
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I would say either Watcher Of The Skies or Down & Out.
There are other opening tracks that overall I actually like better, but none of them have that same mesmerizing, goosebump-inducing effect that the opening sounds of Watcher and D&O have on me.
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... He loves Genesis' music as much as we do...
I remember Nad on the old Genesis forum, the one where Bill MacCormick was the webmaster.
He was there just as a regular fan, engaging in conversation with the rest of us, never trumpeting the fact he was a musician. If he made any reference to it, it would have been in passing and there were a few members on that board who played in bands for kicks, so it would not have drawn any special attention.
It wasn’t until years later, sometime after that forum dissolved, that I saw his name somewhere, perhaps as a guest vocalist on an album, and I thought, “hey, good for him.”
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Re the above it's especially interesting, and quite odd, hearing recordings of the 1976 tour with Hackett and Rutherford doing song introductions in order to lessen this new burden on PC.
Yes, talk about awkward.
Mike seemed to occasionally get lost up there, thrown off by shouts from the audience, abandoning stories midway through...
It was a bit cringe worthy sometimes.
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"I kinda like some of Phil’s intros , down to earth and in my opinion always sort of just like the average Joe would do , but each to his own."
Don't get me wrong, I liked some of Phil's intros too, particularly around the start of the 3-man era.
His intro to Fountain of Salmacis where he explains what a hermaphrodite is were usually amusing. I enjoy listening to his banter with UK audiences during the Duke tour. He was very good on his feet, very spontaneous and able to respond to different audience reactions. I sort of liked his Duke suite story, and I liked some of the audience participation things he did such as his intro to The Lady Lies.
it's just some of his storytelling earlier on, most notably during the 4-man era, comes across to me as a bit crass and awkward.
But we can attribute that to Phil needing a couple of tours to get comfortable with the new role as frontman and developing his own on-stage persona.
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First role I recall seeing her in was in a captivatingly disturbing film called Black Christmas.
I was sorry to hear of her passing.
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Fair to say I listen to Genesis at least once or twice a month though I tend to be streaky in my music-listening habits. If I'm in the mood of a particular artist, I will often play several of their albums, not necessarily in a row, but sporadically within a short time span.
