Posts by Mozo

    I've listened to quite a few of the 80sography episodes, and there's some pretty good stuff on there.

    It does focus on the 80s (obviously) but he gets some pretty good guests, and asks thoughtful questions.

    I particularly enjoyed the episodes with Hugh Padgham

    I’ve always thought the sound of SO was disappointing, too polished, and frankly a bit bland. But the half speed vinyl version is much better to my ears, beefier and a bit more focus

    on guitar. The Lamb sounds better but still lacks the bite of the studio version. I’ll have a listen to those other versions.

    Personally I think the sound works for some tracks (CS, DOAV, SR etc) and not for others (Lamb, Squonk, Afterglow).

    But then with those latter songs, I always preferred the studio versions anyway. I think those 3 songs are examples of tracks which had a magic element to them on the album, which they didn't manage or choose to recreate live.

    So my gripe is probably more about the live feel, than the SO production itself

    Yes! The bass is amazing on this track.

    It's in my top 10 Genesis tracks, which is high praise indeed. 15/15.

    There's so much to say about this track I dont know where to start. But I think the one thing that leaps out is the POWER of this track. You can tell from track 1, this isn't the Genesis of SEBTP. The track immediately taps into the power and other-worldliness of the album. And it's not the weirdness of Unifauns and Chocolate Surprise.

    Plus, I've just come back from a brilliant week in NYC, so this is good timing!

    Wow, thanks for the update. This one passed me by.

    Any new AP content is good, but this could be HUGE. Let's hope he feels like doing a whole album.

    Taylor Swift stole my idea! She has a "surprise section" bit in her show apparently where she plays songs she hasn't played before, and doesn't repeat songs that she's played in that section before.

    Genesis could have gotten there first if only they'd listened 😆.

    Quite. From a fan's perspective, this is brilliant stuff.

    However she seems a lot fonder of her whole catalogue, in contrast to some chaps we could mention.

    Instant 15. No brainer.

    One of their greatest ever tracks, and second greatest opening track after Watcher.

    I never saw them play it in full but they played a section of it as the intro to the old medley on the Mama tour, and I can still remember the crowd reaction.

    It's got everything, it would be quicker to list its faults, which are...well I don't know, I haven't found any yet. It's a shame it didn't get played for all that long

    I suppose if I had to choose a favourite aspect I would say the intro. Exciting, anticipatory, glorious, powerful. Not to mention the beautiful quiet section in the middle.

    Sets up the album beautifully too.

    In short, I'm a fan.

    Hhhm. I've never understood the love for this track. It's always felt like filler to me.

    I'm not one to skip tracks while listening to an album, but I can make an exception for this.

    All in all I like IT, and LOVED it when it came out, I had been so disappointed by the GENESIS album. So it's not that I hate the whole 80s sound. Just this tracks leaves me cold.

    I seem to be in a minority though!

    Hmm. Comfortably my least favourite track on the album. In fact probably one of my least favourite PG era songs, full stop.

    I appreciate it's very popular, and I can't quite put my finger on why it doesn't resonate with me. I think it's probably the actual "Get em out by Friday" sections.

    I've heard it said that this was much better when heard live, but I wasn't around for that.

    I'll take Timetable over this any day of the week, including friday.

    12 for me - I'm always glad to hear it. When it came out I was in 6th form and some of my mates took the mickey because they were accusing Genesis of becoming a soul band.

    I find it a bit flimsy in terms of emotional impact, although I love the energy of it.

    For me, it pales into insignificance against the magnificent You Might Recall.

    Not sure if I've heard that.

    I'd be interested to see Amy Shafer give this treatment to any of Watcher, Moonlit Knight, Ordeal, Carpet Crawlers, Lamia, Entangled, Ripples, Blood, Inside & Out, Down & Out, Duchess, M&SJ, Gonna Get Better, Throwing, Fading.

    It was on his Seconds Out last year (or year before). It was his funky reworking of IKWIL.

    I get his point, it's not like IKWIL has been road tested much.

    Not only does his solo over-extend the segment and therefore dilute the impact of the ending, it's doing it by means of a solo that goes against everything that has made him such a singularly good guitarist.

    In a nutshell. Maybe he thinks he has to show off for the live audience a bit, but I can't imagine many of Steve's long term fans are impressed by some shredding tacked onto (what should be) the emotional climax of SR.

    I was horrified. Almost as horrified as the funky version of IKWIL! ^^

    the ridiculous protracted noodling he now does at the end of Supper's Ready is the antithesis of what once distinguished him from other rock guitarists).

    I couldn't possibly agree more. He used to be (maybe still is) the ultimate proof that great guitar isn't about notes per minute. And nowhere better than FOF of course, my favourite guitar solo, by anyone, ever.

    For reasons I can't explain I got slightly choked up watching that video, especially for Steve's solo. I have heard FOF countless times of course. But watching someone ELSE see it for the first time, and enjoy it, made it hit home even more on this occasion.

    This doesn't connect with me, but I've never really connected with any of Steve's solo stuff, other than bits of SM and Voyage.

    Technically very impressive I'm sure, but totally lacking in heart in my opinion.

    As a general point, I don't really rate any of Steve or Mike's solo work. And very little of Tony's (I like the Fugitive and that's it).

    And yet put them together and they made something sublime.