Posts by MoonlitKnight

Quote from FeelItComing

I've been listening to my Van Morrison albums in the car. He just is not a 'car' artist. Some of the later albums with tracks that go on forever with his self-indulgent vocalising have not aged well. He is best when he keeps it simple (which tells you that yes, I prefer Moondance to Astral Weeks). His recent anti vaxxer political stance has not helped my opinion of him.

I have the live version of “Caravan” from The Last Waltz on the playlist I listen to while mowing the lawn. It’s freakin’ awesome. And for some reason it just occurred to me I probably should have “I Know What I Like” on that playlist too. I guess it’s so on the nose I forgot about it lol.

Quote from Backdrifter

And as I think you and I said before, there's that ludicrous opening sound of people chatting - terrible start to a live album. Did the crowd have to duplicate that on the Hackett SO tour?!

What do we think of the Archive 1 Lamb show version? Obviously there's the vocal overdub to bear in mind. It bothers me a little that the 'lamb' of "And the lamb...." lead line is so much shorter than on the album. Anyone know of any other good recordings of it from the Lamb tour?

I wonder what folks think of the rearranged version they played on the 1982 tour as an encore that transitioned directly into Watcher of the Skies? Personally I liked it, but I know the rearranged jazz-rock intro and outro to The Lamb may be off-putting to some.

Quote from Backdrifter

(Which bit counts as spoken word?)

In addition to the above notes on piano and vocal I'd add in the crunchy growling bass which I love and is among my favourite of Rutherford's work. I've heard others say that's something they don't like! Always interesting how fans differ - eg I'll never understand the preference some have for the lighter, skippier Seconds Out version which I find too fey and way inferior to the chunky slightly menacing original.

I also like the vocal harmonies on the title phrase, and the solid drumming. Hackett seems distant on this track but his characteristic subtle touch is there in the mid section.

I suppose you could say this track gives the album a much better opening than the ending. Its 'looming' feel seems to preface the arrival of the huge cloud soon to engulf Rael and start his strange adventure. It's a nice scene-setter, giving us a picture of NYC into which the protagonist steps and we immediately get a sense of who he is with his spraypaint can. Whereas it leaves us hanging somewhat.

I like that it was such a frequent feature of their live set and was surprised and pleased with the 'lounge' version on the final tour.

Banks said it was the last song he and Gabriel sat down to write together. In that sense it marks the closing of the key partnership they established at school, so it was fitting it featured in the band's final outing.

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I think the Seconds Out version suffers from DH's propensity as a producer to take all the sharp edges off. The whole album (Seconds Out) sounds to me like it was recorded in a giant empty room, rather than a full arena.

Glad you clarified on Don McLean. You know you're getting old when your first thought is "Wait . . . what? The guy who did "Miss American Pie" is playing keyboards for Peter?

Good song, but I'd have liked it more if the album version ended like the live version. The fade out in this song just doesn't work for me.

Quote from dodo

I've seen their SEBTP and Black Shows a few times before! I'd been hoping they'd eventually do another "Lamb" show... so glad I was able to see it!

Hopefully they aren't really fully retiring The Lamb tour. It's a fantastic show and keeps a good variety going in terms of their rotation of tours. Take the Lamb out of the touring mix and they're basically reduced to SEBTP and Foxtrot, along with the occasional Extravaganza tour. Actually the first time I saw them they were doing the Nursery Cryme Tour at Upper Darby. They were excellent but the show was very short (a little under 90 minutes). I probably would not pay to see that show again.

Fantastic show last night at the Keswick.This is the 4th time I’ve seen TMB perform The Lamb tour, and last night’s show was the best yet. They definitely are a must see!

I love this song. Along with Dodo it was my favorite on Abacab. As others have pointed out, it is absolutely amazing how many different feels and grooves Tony packed into a 6 minute song. I remember the first time I listened to the album and heard Me and Sarah Jane thinking "This is like nothing I've ever heard before." Up until that point the only other Genesis album I owned was ATTWT, which quite honestly I was not terribly fond of. Me and Sarah Jane and Dodo inspired me to dive deeper into the Genesis catalog. 10 months later I was singling along to Supper's Ready at the Merriweather Post show on the Encore Tour.

Feeding the Fire (Changed album title):

Side One:

Tonight, Tonight, Tonight

Land of Confusion

Throwing It All Away

The Brazilian

Side Two:

Domino I & II

In Too Deep

Feeding the Fire

Do the Neurotic

Quote from Backdrifter

Apparently so. I think we picked up on the disengaged audience members here! (see the posts that follow)

There ya go. Why they would think inserting scenes of bored audience members is a good thing (whether from a Yes concert or even worse a Genesis concert) is beyond my feeble mind's ability to comprehend.

Quote from Simon1967

Oh, nothing can beat the scenes added to the TOTT film 76...still cringe when i watch it and wonder what were they thinking at the time

I read somewhere that the audience scenes while Phil is belting out the "666" section of Supper's Ready are actually tacked on from a Yes concert. Perhaps that explains why the audience looks mainly bored (in one scene you can literally see some teenage kid asleep).

Quote from Backdrifter

I watched some of 3SL and was reminded how terrible it is - badly filmed, the flow of the live footage disrupted by other stuff, songs out of order and butchered by edits.

I quite agree. The film editing is very subpar on the 3SL concert video. It's like they didn't think that anyone viewing it had the attention span to pay attention to the band playing live for any length of time. I don't know which is worst--the scenes that were edited into the ATOTT concert film during classic sections like the closing instrumental part of Cinema Show and Apocalypse in 9/8, or the butcher job they did to the 3SL concert. The tacked on audience noise on the 3SL video doesn't help either.

Quote from HomeByTheSea

I gave this a 13 (very good) rating. For me the reason it falls short of outstanding is the repeated "Daddy you promised" lyrics that just me cringe today. However, the rest of the song is outstanding for me from the awesome increasingly loud intro to the quiet calm of the "house of dreams" section in the middle of the song. My favorite version is the live version from 1978 in Chicago...

In the live versions I've always quite liked the use of the mellotron in the middle of the song, just after the "Features are burning on" line. Also, I love the heavy symphonic sound they play live at the end.

Quote from Backdrifter

Ah, don't mind him. He's got a termite in his underpants about "wokeness" and is on a mission to crowbar it in at any opportunity. Including in response to innocuous comments about old-new setlist sequencing which he chooses to characterise as "moaning" 😂

Indeed. I teach political science and even I get tired of the exhaustive use of politicized terms as applied to things non-political, including simple disagreements over music.

Quote from thewatcher

That version has a lot more punch than the album version. The transition to ripples is so abrupt, i'm surprised Banks signed off on it!

Couple of other thoughts; i love the idea that they mixed it up a little still across a tour, in this fashion. And also, it occurs to me again that it is amazing that Phil was singing and drumming on material like this at a time he was on his way to being in the same group as Madonna and Michael Jackson in terms of musical success.

Edit: the ripples portion of the medley is heavenly, and the squonk part is very muscular, bordering on very heavy rock. I *really* wish i could have seen this live.

At the show I attended on the Mama tour that medley was comprised of Eleventh Earl/Squonk/Firth of Fifth. I thought the transitions worked well from each song to the next (especially Eleventh Earl to Squonk). Where things got clunky for me was they cut out of a good part of Squonk. The transitions within Squonk were more awkward than they were between songs. I have seen a clip (I believe from a show in Oakland, CA) where they added the very end of the Musical Box on after the instrumental section of Firth of Fifth. That is a bit clunky as well. I listen to it expecting Phil to sing "Now as the river dissolves," etc and instead he starts into "I've been waiting here for so long."

15 out of 15. In my opinion it may be the best example in the Genesis catalog of their ability in one song to alternate between dreamy sounding sequences and sections played with up-tempo joy. For what it's worth I LOVE the symphonic ending they used on the ATTWT Tour.

Fried eggs, scrapple, toast, and lots of hot coffee.

Post-Lamb I'd love it if TMB would break the mold and start doing shows that weren't replicas of specific tours. I know they did that previously with Collins' era stuff. It's nice going to shows and not knowing what's going to be played next.

The Musical Box doing The Lamb tour in Philly next month.

Good, but Do the Neurotic is head-and shoulders better. Oh, to think how much better the IT album would have been with DTN and Feeding the Fire included.