Posts by Witchwood

    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.

    Been listening to a wide range of artists during this lockdown but the ones I've played a lot of or gone on a bit of a listening spree with would include ...

    Bob Dylan

    Neil Young

    Max Webster

    Bob Marley

    Peter Gabriel

    I used to listen to music on my commute while reading. Now I don't commute... my music listening and reading have nose dived. It's odd, I theoretically have more time on my hands to devote to stuff I both want to do and need to do. But I fill my time with chores, doom scrolling online and worrying about what I'm not doing. To be fair, we have a new son who's not yet two weeks old as well as a school age kid who needs to be homeschooled AND a preschooler ...

    Congrats on the new addition to your family.

    When my wife and I had our kids, I quit my job to be a full-time dad. I did that for about seven years until they started school. I loved it and I certainly wasn't spending my days listening to tunes and reading classic novels. I was fully engaged with them and busy keeping the house in order.

    So it's totally understandable in your circumstance with a young family, despite being at home why you'd have less time to be playing music and reading for pleasure.

    I came to know SMALLCREEP'S DAY through the U.S. vinyl version, which has the suite on side 2 and the other 5 songs on side 1. To me, the album wouldn't work nearly as well with the suite on side 1.

    I recall being slightly annoyed by the switched sides on the CD version.

    Since then, I've embraced it.

    It has a more subtle opening now, somewhat in the vein of Down And Out, and I'm OK with that.

    And Overnight Job and Every Road are among my favourite songs on the album - and I'm always happy to end an album on a high note.

    When I'm at the office, I'm usually the last one to leave, so I will take advantage of that hour or two of solitude to play a CD or two.

    One of the pleasures of working from home for me the last two months has been picking out things to listen to and playing a wide selection of music throughout most of the day.

    Trees ‎– The Garden Of Jane Delaney...UK....1970

    Prog Folk

    I haven't played these albums in a while. I should give them a fresh listen later today.

    Interesting to see them described here as "prog folk."

    I would be more inclined to compare them to, say, Fairport Convention (which I define as folk/rock) than a band that falls under the prog lable like the Strawbs.

    1. Gabriel

    2. Hackett

    3. Phillips

    Pete, Steve and Ant are by far my favourites. I find most of what they've released highly enjoyable.

    4. Banks

    I love Tony's debut album. And I generally like the rock albums that followed though a couple of them I would concede to being uneven. His classical music doesn't appeal to me.

    5. Collins

    I generally like Phil's first four albums though I think he's the only one who never produced an album that I could enjoy in its entirety. And by the time we got to the fifth album, I felt the tide had turned and the cons began outweighing the pros.

    6. Rutherford

    I love Mike's debut album but I am just not a fan of anything he has done since.