I see it coming: At the end we will have a veritable war between the two camps...
Not unless we can convince the vast majority to come to the Dark Side.
The Force is strong here.
Posts by Witchwood
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Procol Harum
Van Morrison
Big Big Train
The Rolling Stones
The Band/Robbie Robertson
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I like it though it's a far cry from the dark, haunting or atmospheric tracks that cause goosebumps and typically give me the most pleasure in PG's music.
A 12 from me.
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I'd say you'd be better with the digital source! Can't understand the vinyl obsession, there is no area in which it beats a decent digital source (eg/ CD which is 16/44, or other sources with higher numbers like Flac etc, which can go up to 24/96 if available. Even good mp3 like 256k/b or higher is better.)
People swear by them and claim vinyl albums have a warmer, fuller sound.
What stands out in my recollection of playing vinyl are the crackles, occasional skips and the sound of surface wear from albums played repeatedly.
I thought CDs were a blessing in comparison, and I haven’t moved on from that format - though I know most others have.
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Roger Waters places a lot of value in his own lyrical depth and on that level, there is a vast difference between what he and Phil Collins have to offer. So, it’s hardly surprising that he is so disparaging.
What Waters overestimates is the value fans place on words over sounds when it comes to music.
That was never more obvious than with Pink Floyd where, with the exception of perhaps The Wall, it was primarily the instrumental passages and the combined sounds of David Gilmour’s guitar and Richard Wright’s keyboards that appealed most to fans.
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I am a long-time fan but not a devoted follower.
I think their output from 1968 (Beggars Banquet) to 1978 (Some Girls) was consistently solid. I would almost say flawless. I thoroughly enjoy every Stones album released during that stretch.
Prior to ’68, I think they released some of the most memorable singles in rock music history, but I am far less enthralled by their early albums. Very much hit and miss for me, sort of the way I feel about very early Who.
I’ve heard a lot of fans say Tattoo You (1980) was the last album that was fairly decent in its entirety and I’m inclined to agree.
Since then, I’ve enjoyed the odd song off later albums, and I actually didn’t mind Blue & Lonesome (2016), which was comprised entirely of old blues standards. But to be honest, I find most of the post-TY albums bland and part of that rests in the fact when I listen to Ron Wood, I immediately find myself missing the fluid playing of Mick Taylor or the deft slide guitar of Brian Jones, both of whom I thought were far more interesting and creative lead guitarists.
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Gary Wright (Sept 4, age 80)
A couple of articles I read today about Gary's passing highlighted his solo career, his two hit singles, and his guest appearances on George Harrison's albums, but made no mention of his being the co-founder and co-lead singer in Spooky Tooth, which by far was the high point of his career for me.
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Nice little Genesis pop song in its original version. Ruined in live versions by Phil's silly "de-da-ray" stuff and his messing up the line "someday you'll be sorry, someday when you're free" (saying "someday when you're sorry" instead).
There are several audience participation things Phil did from about the mid-80s on that I didn't care for.
But this was one I actually did like, and like quite a bit.
I'm always up for an extended intro (or outro) and this one is melodic and it transitions nicely into the song.
Given the choice, I prefer the live version because it has just a little more to offer.
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I like those first two albums.
I've never tired of listening to them in their entirety whereas I find Breakfast In America and Famous Last Words each have a couple of songs I still love but then a few other tracks which have really worn thin with me.
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Randy Meisner, a founding member of the Eagles, died this week.
I always felt he was an integral part of the band's sound, particularly in their harmony vocals.
He also wrote and sang lead on what I thought was by far the best song on Hotel California, which was "Try And Love Again."
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A few weeks ago I got a summons to jury service. Tomorrow I find out if they require me to attend from Monday. I'm kind of hoping not. I could do without mingling with 14 strangers to consider the alleged actions of some possible miscreant. Not exactly public-spirited, I fully accept.
Anyone here ever done it?
The one time I was called, I arrived at the courthouse carrying my daughter who was an infant at the time. One of the lawyers stopped me in the line going in and asked if I was the primary caregiver and I said yes (which was true, I had taken leave from work, and was a stay-at-home dad at the time). She told me I could leave and that ended that.
If it had gone any further, I toyed with the idea of telling the court that if police had grounds for laying a charge, then I must presume the accused is guilty.
(I don't know if that would have worked or not).
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It's not only my favourite song on the album, I'd place this among my top 2 or 3 favourite tracks of Genesis from their last three studio albums.
It has a dark, ominous tone and I always quite liked the transition midway through where the bass builds up and Ray sings, "There are only dreams one like any other."
Much has been said of the lyrics having a certain prophetic quality, post-911, though I'm well aware Tony had the Manchester bombing of '96 in mind when he wrote them.
14 for me.
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Peter Gabriel
Frank Zappa
Gentle Giant
Neil Young
Joe Walsh (inc. The James Gang, The Eagles)
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Time flies. Twenty-five years? It doesn't seem that long ago that it was released.
In all that time, I've listened to the live Lamb set perhaps two or three times (Id rather listen to the studio release or any one of a number of decent-sounding recordings from that tour).
The real prize for me was disc 4. The tracks on there were all new to me.Even though some of them pre-date FGTR, they always sounded to me like the missing link between the first album and Trespass. I've played that disc many times over the years.
The studio tracks at the end of disc 3 are, to me, the most essential tracks, long overdue for CD release.
I agree. Up until I bought the Archives box set, I don't believe I had even heard the studio versions of Happy The Man and Twilight Alehouse.
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For me, by far, it's one of the two best songs on the album, both musically and lyrically — the other being Fading Lights.
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Guitar Noir marks the beginning of what I consider to be Hackett's renaissance — a period of mostly great albums which included Darktown and To Watch The Storms.
At the time of this release, post-80s, I had become accustomed to disappointment with albums like Cured and GTR and wasn't feeling all that enthusiastic about going out and buying the album. I was feeling that way about a few of my musical heroes at the time.
But after a co-worker who was a fellow Genesis fan praised the album and recommended it, I thought I'd pick it up. As it turned out, the opening track "Sierra Quemada" caught me off guard and completely wowed me.
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It's a melodic piece, I like the overall sound, and have always considered it one of my favourite tracks on the album — even despite the fact Chuck Mangione comes to mind whenever I hear it.
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Gordon Lightfoot, Canadian singer songwriter. I never got into him, but I remember my parents going to see him a few times, and after the last one a few years ago they said his voice had faded badly. Reading of his death causes me to reflect on the fact that they are getting older.
I was sorry to read about that last night. I'm a bit of a fan, particularly of his late-60s to mid-70s output. Had the pleasure of seeing him perform at the Orillia Opera House in his hometown in '93. I recall at one point Lightfoot remarking on the fact his mother was in the audience for that show.
He beat the odds, performing for as long as he did. I think many people who attended his shows in recent years went merely for the opportunity of seeing a musical legend on stage, perhaps for one final time.
RIP Gord. I'll be playing some of his music today in homage.
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... Me and Sarah Jane really sticks out, like a misplaced song but what a beautiful one. It would have been a perfect fit on Duke.
To my ears, MASJ has this Caribbean or reggae groove which is totally uncharacteristic of Genesis but fits in perfectly on an album with such diversity as Abacab.
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My first reaction to this album extended from my disappointment with the preceding album, Cured, and my longing for a return of the Spectral Mornings/Defector line-up.
I didn’t hate it, but I was very lukewarm towards it.
It took over a decade before one night while listening to the album in the car on a long drive, something finally clicked.
It may have helped that I hadn’t listened to it in a couple of years and so when I did play it, it was with a fresh set of ears – and some of it seemed new to me again.
Despite any misgivings I still had about the thinness of the overall sound and the fact Steve was now handling all the vocals, I noticed the rawness in the guitar playing and some extended solos that pushed aside the notion I may have had that this was some failed attempt at synth pop.
I recall, by the end of the third track, "Always Somewhere Else," I had to listen to that song over again because I enjoyed it so much and by the time I was more than half-way through, I came to a realization or conclusion that I had completely misjudged this album.
Highly Strung now has a place among my 10 favourite solo albums by Steve Hackett, though somewhere at the tail end of that list.
