Posts by Duke of Earl of Mar

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These will probably be the last concerts of the band in history and I would really like to hear Jesus He Knows Me, Abacab, Dreaming While You Sleep or, for example, In That Quiet Earth after 30-40 years. At least 3-4 shifts.

You're not alone. Everyone here would like some changes and some deep cuts to be played...

But you know, even if someone from the management is here, I highly doubt any member of the crew has any influence on the setlist. I can't see Geoff Callingham or Tony Smith saying to the guys "Play The Waiting Room, man", and Tony and Mike answering : "Great idea ! We should play Undertow too...".

At least, we know some changes already happened : Jesus was ready to be played, and they tried Misunderstanding.

Since it's quite a long hiatus until March, and their very, very last performances, maybe something unexpected will happen as they will have some time to prepare it. But I doubt it.

I noticed that too. And I really don't know why he does it that way now. I like the arpeggios he played in 1981-1983...

For 1978, I think he is just doubling Mike, as you said. I'm not a guitar player, but I think he plays some F# chord, just here (it goes quite fast and the picture is quite blurry), so we can assume that he does the same thing during the A major part too. I think it's why Mike's part sounds so "full" on this tour. There may be two players :

Another difference I noticed, with the exact same elements : For Behind The Lines Intro, during the B Major modulation, there is a DMaj/C | CMaj chord sequence repeated 4 times, during which Tony plays a little synth line which goes "A G F# D E F#, A G F# D E G F# D A(below the D)".

For this tour, Daryl plays that line alone with volume swells, Tony doesn't play it, he plays just the chords and doubles the bass with his left hand. On the studio version as well as in 1980, 1981, 1983 and 2007, the little line was played on his Prophet synth. In concert, Daryl was arpeggiating the chords (clean sound, or distorted in 2007).

(notice the slower tempo, too, haha)

(more energy, thanks Nic !)

Quote from DecomposingMan

I've never understood why YOSW is considered a "pop love song." The words are not typical love song lyrics, and the music really isn't all that poppy. I always thought it fit well with the overall mood of W&W.

Me too. Actually, I even understand why they left out Inside and Out. The overall sound of the song is completely different from the rest of the album. To me it belongs more to ATOTT...

W&W is my favourite album. Without this one I probably would not have become a fan. It's the first Genesis album I listened to. The intro of Eleventh Earl of Mar seemed so special to my ears, I couldn't believe it. Then, there is One For The Vine, so by this point, I couldn't stop listening.

In my head it's weirdly associated with the French theatre release of Toy Story 2, probably because the two events happened at the same time (I discovered W&W and Genesis in January or February 2000, and went to the cinema with my mother to see TS2 in February or March 2000).

I know it seems completely random, but even today when I listen to the album, I still have some pictures of the film and of the cinema theatre (which has since been destroyed...) in my head.

Probably by sliding his right forearm against the strings, like this :

Or maybe like Rutherford above, strumming with a pick while muting the strings...

Quote from rlj1010

At least they're doing the beginning of "Fading Lights", which does have a semi-callback to ATrick Of The Tail's "Ripples". So that album is very very briefly represented (barely).

Quote from Backdrifter

I'm not certain of that at all! In their own different ways they're each about the passage of time but I don't think there's any link beyond that, and even that isn't really a link. (This is the moment where you produce an interview with Banks saying he wrote that line as a deliberate reference to Ripples!).

Actually, if we listen very carefully to the two segments ("far away, away", and "sail away, away"), the melody is... kind of similar (but the harmony behind is totally different, meaning different key and chords).

But I don't think there is any link between the two either...

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Of course, the studio version of it is just Phil

But I think that on the studio version there are at least two drum tracks, and some percussion... So, two drummers effectively.

A few years ago, when I heard Phil was getting out of retirement and starting a new solo tour, I remember hoping for a Genesis reunion... and trying to do a setlist.

Knowing this would probably be Genesis last tour, everyone was invited, and Peter, as always, refused to join.

The line-up was...

Phil Collins, voice, percussions

Ray Wilson, voice, guitar

Tony Banks, keys

Steve Hackett, lead guitar

Mike Rutherford, bass, guitar

Ray Wilson, voice, guitar

Nic Collins, drums

The set list I hoped was :

Behind The Lines intro/Duke's End 3:40 > Abacab 8:30

Calling All Stations 5:44

Mama 7:30

The Musical Box 10:30

Land of Confusion 4:45

Horizons / Blood On The Rooftops 07:05

Snowbound 4:30

Supper’s Ready 25:00

Dreaming While You Sleep 7:30

Firth of Fifth / I Know What i Like 13:00

Dance On A Volcano / The Cinema Show / Afterglow 16:05
Wot Gorilla ? 3:20 / Los Endos 6:00

Invisible Touch 5:21

I Can't Dance 6:00

*********

Carpet Crawl 5:20

***************

The Knife (short) 4:00

***************

Probably much too long, because I didn't take into account all the chat between the songs...

Coming back to the real thing, I was just thinking that A trick of The Tail would be doable in an acoustic form.

Keep It Dark too. For the exact same reason.

I like songs that nobody talks about...

Please Don't Ask for example. Great song. Weird and sudden chord changes, quite unusual for Collins, because he usually does much simpler things, and the bass part is amazing.

Vancouver. I love that one.

1) Wind and Wuthering

2) A Trick of the Tail

3) Selling England

4) Duke

5) And Then They Were Three

6) The Lamb

7) Nursery Cryme

8 )Trespass

9) Foxtrot

These first nine albums are ranked, but you should not pay too much attention to the numbers, since they are all Number 1 to me, especially from 1 to 7.

10) Genesis

11) Invisible Touch

12) We Can't Dance

13) Abacab

14) Calling All Stations

I find these last five albums to be very good, and there are superb songs that I like very much. I just find them less consistent than the others.

The album that suffers the most from that is We Can't Dance : superb songs (Driving the Last Spike, Driving While You Sleep, Living Forever - that one is surprising ! , Fading Lights), really good songs (No Son of Mine, Jesus He Knows Me, I Can't Dance, Way of the World - I like the feel of that one), and the rest is... good but forgettable (Tell Me Why, Since I Lost You, Hold On My Heart, Never a Time - remember that one ?)

Its main problem I think is the "CD syndrome". CD was now the main playback media, and since it could contain a lot more than the regular 45 minutes of an LP, it's like they felt obliged to fill it up entirely. Dangerous from Michael Jackson, released the same year, has the same problem (to me) : much too long.

The two shows were filmed by "Duke Albert" ! Thank you very much.

To me, each album between 1970 and 1980 is perfect, I never had the idea of rearranging them. I like every song, really.

From Abacab onwards, well...

Abacab

No Reply At All, Keep It Dark, Who Dunnit, Another Record > B sides of Abacab (single), You Might Recall, Man On The Corner, Like It Or Not.

Invisible Touch

In Too Deep, Anything She Does, Throwing it All Away > B sides of Invisible Touch, Land of Confusion, Tonight
In this configuration, the album would probably have been less successful (because less singles > less radio playing).

Understandable.

What I like in Genesis medleys are not the songs being abridged, but the way they usually find a transition between one song and the other. I know it's quite specific, it only lasts a few seconds, but that's my thing.

This is why, maybe, I'm a little disappointed - but very little...- by the current Fading Lights/Cinema Show transition. I would have liked a smoother one, even if the way they play it makes sense ("Remember...").

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Abacab feels like they were trying to get back to their Trick/W&W sound.

Quite surprising to say this... Especially because the band acknowledged Abacab was made not to sound like what they used to sound like.

But everyone has his own perception...

To me, Duke has a lot in common with Trick, W&W or even Selling England. Abacab is really special ; to me it doesn't sound like anything they did before or after it.

That is exactly the kind of thread I was looking for ! Thank you Backdrifter !

Feeding the Fire and Do the Neurotic really stand out.

I always thought some tracks on the album should have been b-sides ; not that they are bad, but maybe less interesting : Anything She Does (this song, to me, is a perfect b-side), In Too Deep, and Throwing It All Away (You will probably think that I don't like softer tracks, but I do...). I find the last two tracks more "Collins-esque" than "Genesis" sounding. I like them but I think I could survive without them...

Just for fun, I thought about a rearrangement of the album, that would have been "better" for my taste :

Exactly what I was thinking... Watching the videos.

The energy was there. I don't know if it's me being accustomed to his current state, but he seemed way younger than at the start of the tour. Which is good new for him, really. His voice is coming back as the tour progresses. And I think yesterday was kind of perfection. Words seemed to come easily too.

I've never seen Mike being so "engaged" in this rock and roll attitude. What a joy ! Clearly, he moves and smiles a lot more than in the last... 35 years ?

Compare it with 2007, he was way quieter to me...

Because the instrumental part is mandatory ?

I know, and I agree, but in the context of a medley, I'm ready to sacrifice it...