Posts by Phil Morris

    Not sure if those (very valid) aspects are still relevant in 2023, especially for i/o. Each of the four sides is not too long. Having said that, the album contains 12 tracks, which I think didn't happen before (with the exception of "Scratch My Back", but that was another story).

    No, my comments do not relate to the current situation and certainly not to i/o specifically. I was just making more general points in reply to the similarly non-specific ones concerning historical vinyl ordering in the comment I quoted.

    If only we could get a big box for the 50th I'm sure a lot would be left out. I'd love to see an official release of I think it was called Meek's Cafe the five or six disc set that had the rehearsals the covers and noodling around I like that stuff even if it's not pristine audio. I wonder what exists that hasn't leaked to be heard ever.

    The original release of The Lamb sessions was part of a CD series called In The Beginning in 1993.

    I do know on vinyl they used to arrange the tracks based on which ones they think will be the most successful and that would affect much of their decision:

    Side 1 would open with a great track, and then finish with a great one-therefore compelling the listener to want to turn it over instead of stop listening and ignore side 2. Then side 2 would open strong as well, making the listener want to keep going.

    Not sure if that's what's happening here, but that was how they used to determine tracklist order, at least for LPs.

    That said, vinyl often constrained and dictated the running order. This is why albums such as So and But Seriously have different vinyl orders to other formats. Gabriel was especially frustrated that he couldn't end with (the full version of) In Your Eyes (originally).

    Similarly, the increased playing time of CDs versus - perceived - listen tolerance dictated running orders. Many wonder why Calling All Stations did not end with The Dividing Line, especially as it did so on pre-release cassettes. It ended up around the 45 minute mark because it was believed that more casual listeners would get no farther than that. (And has nothing to do with the quality of the material, before anyone makes a snide remark.)

    Come Talk To Me and Secret World are obvious choices for me. Both belong to my all time Gabriel classics. Track 3 was more difficult. I considered Love To Be Loved, Digging In The Dirt and Kiss That Frog - and have chosen Kiss That Frog. I always had an affection for this track.

    I thought Come Talk To Me was especially good in the version which opened most of the shows on the i/o tour.

    Really? In the last video Gabriel mentioned the tour as "beeing ended". I'm not aware of a sign that it will be continued. The same for Tony. - In both cases, this does not necessarily mean that the tour will really not be continued. But there has not yet been a clear signal that it WILL continue.

    Which is why Gabriel's reference to revisiting This Is Home in a revised form live points more clearly to there being further dates - next summer.

    I agree, the discrepancy in success between Banks and Rutherford is hard to fully explain. I think one part is that MR's natural talents were in writing songs like Follow You, Follow Me and Living Years whereas Tony's habitat is Silver Rainbow and the like. I personally prefer SR but I can see the more widespread appeal of the other songs. This point is a bit moot if TB was responsible for In Too Deep for example but I'm not sure if he was.

    Maybe another factor was Silent Running being such a big hit, to launch M&tM? Is it analogous to In The Air Tonight? After all, Mike's two earlier solo albums did nothing commercially, I believe. I guess he had a good crew with him too. Very much agree Tony's ever changing set up did not help.

    Whilst Rutherford wrote the lyrics to FYFM and the track started with his guitar riff, the music is credited to all 3. A similar point can be applied to the comments regarding Silver Rainbow and In Too Deep.

    Also, Smallcreep's Day did rather well in the UK upon release.

    Rupert assisted Mike & Tony on an unreleased soundtrack The Shout. Favorite Rupert produced albums are Presto & Roll the Bones.

    They didn't work together on it. Hine provided "electronics" separately to Banks' and Rutherford's contribution, which really only amounted to a repeated use of From The Undertow in various themes. Only one of which noticeably features Rutherford.

    Tony Banks in 2013 on Carpet Crawlers 99: "Mike and I went down to Real World Studios and did our parts together. To be honest, an awful lot of what I played didn't get used at all. The reason we got Trevor Horn on board was because we thought we would all argue with each other. So we said, 'do what you want with it', really. I thought what he did was pretty good. I wasn't too sure about the little drum loop he used all the way through, but I thought the way Phil's voice took over from Pete's was just an amazing moment. Their voices have always had a certain similarity in intensity, but Phil has a slightly higher pitch that seemed to give such excitement to that third verse when he came in."

    Ray Wilson in 2001: "I got a 'phone call to say that I was going to be singing. I was going to do a verse; Peter Gabriel was doing a verse and Phil Collins was doing a verse. And then I got a call telling me that I wasn't singing on the song anymore. They never told me why."

    I'm a little surprised for such an in-depth review that I can see no reference to the correct location of Cinema Show's recording. Perhaps this wasn't known about back when this review was created: I cannot recall when it became common knowledge. Not that it really matters.

    I'm currently watching the RMS concert from Montreux in 1983 in tribute. RMS were a short-lived act comprising Ray Russell, Mo, and Simon Phillips, all three with Genesis (solo) connections.

    Sorry this will probably be boring but I saw an interview once where I believe Rutherford and Banks were discussing wind and wuthering and they referred to it as their feminine album.

    That always rubbed me the wrong way. That’s like saying romantic classical is feminine like it is less worthy and not manly enough.

    Dark and gray, an English film

    Mike Rutherford in 2021: "It's Tony's favourite album and not mine. I think it's a more female album. There's some good stuff, but I think a few bits didn't work."