Simple but lovely stuff as ever
Posts by Trick of the Wuthering
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Genesis: (In their heyday)
Which member was:
The best footballer?
The toughest scrapper?
Ray for footballer and Nir Z for scrapper.
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Only just discovered this. Brilliant atmospheric instrumentals.
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It's in Your Eyes
That's What You Said
Oughta Know by Now
Respect to Phil for trying something different but this comes off half-baked and uninspired.
Those three tracks are pretty good though. The shimmering guitars are different and fun.
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Great crunchy rock track.
I used to think the outro jam was uninspired (especially when compared to Duke's Travels before and Second Home by the Sea after) but the minimalist approach grew on me.
Came alive on tour and I enjoy the Three Sides Live and IT versions.
Wish they played it on at least one of the reunion tours.
13/15
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Sufficient in that it would slot comfortably into a Radio 2 smooth list containing the Corrs, except the Corrs would be better.
Quality production, playing and singing. Doesn’t trouble the soul. Proper music does
Would have to agree. Far too much of their discography is similar-sounding mushy, syrupy ballads that leave little impression.
A pity as when they rocked out (Silent Running, Hanging by a Thread), they were pretty damn good.
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So many! But, off the top of my head:
- Firth of Fifth intro
- Riding the Scree
- All in a Mouse's night outro (heavenly match-up with Steve's guitar)
- In the Cage mid-section
- Supper's Ready (Apocalypse in 9/8)
- Middle section of Follow You Follow Me
The final two in particular demonstrate how he good adeptly 'prog' and 'pop'
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These fantasy setlists are great and would all be incredible.
That said, the tour was fantastic with the reworked Duchess, the acoustic section and Nic's drumming on Second Home By The Sea my particular favourites.
Just wish they could have tweaked it slightly by swapping up the first track so it wasn't used two tours in a row (as good as Duke's Intro is), squeezed Peter and Steve in and dropped just one of the hits for a deeper cut. I would propose
- No Son of Mine out for Abacab which is moved to the opener
- I Can't Dance out for Los Endos which is moved up as the last song of the main set and Invisible Touch to open the encore
- Steve and Peter to guest on Carpet Crawlers
That would've been perfect and (almost) in the realms of possibility.
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EDIT - in fact it's just reminded me, it puts me in mind of Noel's melodramatic keyboard stings in the Ham Radio episode of Frasier, as heard here at around 01:12 just after "the lines have been cut!"
Haha whereas the CAS recording sessions were more like this
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Inspired by the recent On the Shoreline track of the week discussion, it occurred to me that Tony's keyboard sounds on WCD sound quite different to what came before and after.
On Invisible Touch, his synth is very 80s (but very good) in extended passages on TTT, Domino, Do the Neurotic and The Brazilian.
On Calling All Stations, it's in a darker vein, especially on the title track, Dividing Line and There Must be Some Other Way.
However, on WCD (and his solo album Strictly Inc), his sounds are much lighter and fluffier and almost comedic in some instances. For example:
- 'doink' sound on ICD
- light and almost 'gospely' on the instrumental second half of LF
- a little bit jarring on Dreaming While You Sleep.
Anyone else getting this vibe? It seems as if he in particular leapt into the fray of bubbly, adult contemporary softer music on WCD, while Mike and Phil's rhythm section still remained crunchy and strong (except in the ballads).
Just an observation!
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Great rocky statement track for the album that the remainder (a few aside like Dividing Line and There Must be Some Other Away) fail to live up to. 13.
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can you give some insights in the little video documentary they screend ahead of the show?
A narrated 20 minute mini-documentary of the original 73-74 tour in Europe and the US with archive images and video of performances and locations from a number of contributors such as Armando Gallo.
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Brilliant as ever last night at Hammersmith Apollo
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Genesis 1967-1977 was a specialist round in Mastermind last night. I scored 10, 1 less than the contestant, out of 12 questions, I got the 1st wrong, and the one about a Tony song on W&W (Not wishing to spoil it for iPlayerers!)
Just attempted it myself and got the same score but two different incorrect answers.
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I'm a big Ray fan. I think his voice is excellent.
I would love it if him and Steve did a joint tour. His vocals on Ripples and Carpet Crawlers are awesome.
I think he gets a lot less attention as he's viewed as a sideman like Jack Hues on Strictly Inc or Noel Mcalla on Smallcreep's Day not a full-time member like Ant for example.
My parents saw Ray in Germany last year and met him backstage. He's based in Poland now and, when quizzed why he doesn't tour Britain, he just said that that is no to little interest in him here.
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A quick track-by-track review after a couple of listens.
People of the Smoke: Average intro to the album. Better in context than as a single but not great.
These Passing Clouds: a pleasant short interlude.
Taking you Down: just about acceptable. An uninspired vocal from Nad and a very messy structure. Nice ending coda, mind.
Found and Lost: Good acoustic guitar and a decent vocal by Steve. Reminds me of Many Sides to The Night on Guitar Noir. Am I the only one who doesn't like any of the saxophone in any of Steve's songs, on record or live?
Enter the Ring: can't get on board with the singing but the guitar is good
Get me out: a decent, if a bit of a meandering, rocker
Ghost Moon and Living Love: good drums on this one. Messiness is kept a minimum and it's all the better for it. Great guitar sound. Possibly the best track on the album although I wish he hired a strong singer.
Circo Inferno: first half is great but it loses all momentum at 1.30. It's only 2.30 but slightly too long!
Breakout: a good, short dirty rocker.
All at Sea: an atmospheric prelude to...
Into the Nightwhale: finally, Steve allows the song to breathe without (seemingly) randomly lurching from one section to the next in 20 second bursts. Really good track this one. His vocals work well here too!
Wherever You Are: another one that works better in the confines of the album. Average off it. Good on it.
White Dove: a lovely acoustic farewell to the album.
Overall, better than expected and a refreshing (albeit, slight) change-up in sound from the last 2-3 albums. Ghost Moon and Living Love and Into the Nightwhale the top two tracks but all the short linking ones work well.
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Ahead of the new album's release, I had a listen back to this.
The standout for me this time around is Relaxation Music for Sharks. A fun full throttle instrumental that (just about) doesn't include too many styles.
Shanghai to Samarkand is also good as it predominantly sticks to a song structure and takes its time rather than thrashing wildly and noisily like too much of his recent material does.
Day of The Dead tries this again but less successfully for me plus it sounds very much like a track from the two or three albums before it so isn't very fresh.
The album is bookended nicely by the short The Obliterati and Esperanza which introduce and conclude the album well.
Despite being the only two tracks he played live, The Devil's Cathedral and Held in the Shadows are quite bland to me.
Wingbeats continues to be weak while Natalia is just not very entertaining or interesting to my ears.
Fox's Tango is a stripped back as he gets these days so it has that going for it as it benefits his guitar sound.
I want to like Scorched Earth but it doesn't quite click for me.
Overall, still only 5-6/10 but better now than on my initial listen.
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A good, condensed proggy track with a good set of lyrics by Tony.
It was even better live on the two tours it was played on with Phil's fun hero/villain intro, Mike's sterling bass work and Daryl's fast outro guitar.
One of the last fantasy songs (as discussed on another thread), it was placed perfectly in the running order as the penultimate track on the album before FYFM and the brave new world of Duke.
12.
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Hmm, it has some good parts. It just doesn't add up to very much.
Couldn't agree more. Lack of structure and flow in the arrangement again make it a hard and unfulfilling listen.
