Posts by Duke of Earl of Mar

    We Can't Dance, probably too long to be played on a single vinyl, but it works on a 60-minute-tape (because I try to be coherent with what was able at the time for release...).


    SIDE 1
    1 No Son Of Mine Banks, Collins, Rutherford 06:45
    2 Driving The Last Spike Banks, Collins, Rutherford 10:09
    3 Jesus He Knows Me Banks, Collins, Rutherford 04:17
    4 Dreaming While You Sleep Banks, Collins, Rutherford 07:17
    TOTAL SIDE 1
    28:28


    SIDE 2
    1 On The Shoreline Banks, Collins, Rutherford 04:50
    2 Hold On My Heart Banks, Collins, Rutherford 04:39
    3 I Can’t Dance Banks, Collins, Rutherford 04:02
    4 Living Forever Banks, Collins, Rutherford 05:42
    5 Fading Lights Banks, Collins, Rutherford 10:28
    TOTAL SIDE 2
    29:41
    TOTAL TIME
    58:09


    I agree, we loose 3 (edit : actually, 4) songs, but I always thought the album was a bit too long... I think it works a lot better that way, especially the last three songs.


    B sides :

    Never A Time > No Son of Mine

    Way Of The World > Jesus He Knows Me

    Since I Lost You > I Can't Dance

    Hearts on Fire > Hold On My Heart

    Tell Me Why > On The Shoreline


    Setlist :


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    :)

    And as for comments by others that this is "the worst song on the album" - Have you not played More Fool Me?

    Of course, and I know it's considered as a "less interesting" song, but I tend to like More Fool Me more than Battle (or let's say at least that I consider it as enjoyable as the rest of the album).

    It's a strange little song, placed at the end of side 1, between two "big" songs and completely different from the other stuff in the album. To me, its purpose is to rest the listener a bit, after FoF and to me, it succeeds in doing that.

    Same with After The Ordeal. And I Know What I Like probably too.

    Was the band conscious of this balance between heavy and light stuff throughout the album ?

    Imagine having other songs of the caliber of Dancing, Firth of Fifth, Battle, Cinema Show (or extended versions of the existing ones), it would probably be a little too much (to me at least).

    :)

    Well, it's not my favourite song from one of my favourite albums, as it's probably the weakest track, but I don't dislike it either. It may be too busy (I think Tony Banks recognised himself that they went too far with it), but it also has its moments (the beginning of the second verse at 4:03, the "Reverend" bit, and the ending).

    Lots of impressive playing : Steve (lots of sounds), Phil (what a drumming part overall !) and Mike (that bass that goes on and off-beat at the end !) really shine here.

    10 points.

    I think (but I'm not sure) that his last appearance as a drummer was for the Prince's Trust in 2010, with Eric Clapton.

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    EDIT : judging by his position and facial expression, he seems to struggle with pain or sensation in his body. He probably wore a corset at that time (not sure, though).

    I can see why it would not be considered as "one of their strongest moments". It's not Supper's Ready or Afterglow. Still, I think it's one of my favourite songs from the album, and maybe even from their entire catalog (but I have come to a point where, as a fan, I can't think of a song I really dislike...).

    I like the overall sound. I know I'm in the minority here, but I prefer the Hentschel period over the Padgham one. Childhood memories are strong, and this is the sound I was exposed to, back then...

    It would be great to re-release the archive stuff that they did 25 years ago. I didn't know Genesis at that time, and my Mum didn't buy it.

    I think this is the only valuable thing they could do, with 5.1 remixes re-releases.

    They already did the concerts and live performances a few months ago.

    So, nothing new really. When it's done, it's done.


    We already have some bootleg studio archives (SEBTP, the Lamb). It's great for us, fans, but I really don't see it released at all. Listening to the band searching and arranging bits over and over again... Actually, they did it for one exception, Mama (work in progress).

    Video from 2007 :

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    15 !

    In terms of importance in their catalog, same as Cinema Show, FoF, Supper's Ready, Dance on a Volcano, Afterglow... To me, this song in particular sums up what Genesis is. I always thought that if someone would want to discover Genesis, Duke would be my first choice. Perfect blend of prog-pop, and I understand why it's Tony's favourite !

    I think their decision to split the suite was one of the best they did. Otherwise, side 2 would have been kind of forgotten. Weirdly, even if the "solo" songs seem to have nothing to do with the suite, I feel a kind of loose connection.

    I always thought the entire album was about loneliness, with a guy - Albert ? - living in a world going through a strange pandemic of desperation (see Heathaze, to the point where people burn themselves, see MOOT), he is desperately trying to connect with people and find a goal in life, by reading (BTL), watching TV (TIOA), going to the army (Cul-de-sac, Duke's Travels), or even fantasising on his favourite singer (the now forgotten Duchess)... But he, like everyone else (the Duchess, or a fisherman in Heathaze) remains alone (Alone Tonight). Only some of his inner voice still speaks to him (Guide Vocal). He has some memories of his life before, when he meets his former wife (Please Don't Ask), etc...


    In the original French vinyl edition, there was a paper with all the lyrics translated in french. By reading it, well, that's how I understood the whole album as a child.

    Well, I'm listening to some of it right now (on RW's Youtube channel, "Time" and "Us & them"), and surprisingly maybe, I find it quite interesting. I'm not a PF fan, and I find myself more on Gilmour's side than on Waters' side, musically at least. And really, it's surprising, quiet calm, but not bad. One thing that annoys me is the vocal treatment - but it's not specific to this record, every record today has it, listen to the recent Stones new song -, the pitch correction is quite audible on some spots, like here, on the "blue" word :


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    And of course, there is absolutely no sign of any Stratocaster-type sound... :S

    1. When did you buy Selling England By The Pound (or have received it as a gift)?

    None of that. My mother already had this album on cassette and vinyl for more than 20 years when I discovered it, around 2001-2002, being 9-10 years old.


    2. How old were you when Selling England was released?

    I was "minus 19". ;)


    3. Was Selling England your first Genesis album? If not, how many Genesis albums did you own before getting Selling??

    No, it was Wind and Wuthering, that my mother also had on cassette. I think I probably listened to Nursery Crime and And Then They Were Three, before finding the Selling cassette (like all the others, distributed by Virgin France, a white cassette with blue lettering).


    4. If you had to rank all Genesis albums, where does Selling England stand?

    It's in my top 5, probably even my top 3, behind Trick and my favourite, W&W. Sometimes it's on par with Duke or The Lamb (to be clear, take all the studio albums between 1973 and 1980, and you have my top 6. Then, it's hard, within this collection, to rank them precisely...)


    5. Which track was your favourite when you bought the album?

    I already knew some tracks, because I had listened to Seconds Out. I liked the differences between the versions. The more acoustic flavour of Cinema Show, and the full intro of Firth Of Fifth impressed me.


    6. Which track is your favourite today?

    Cinema Show or More Fool Me (yeah, why not ?). Or Firth of Fifth.


    7. Which track do you think is the best track on the record despite your own taste?

    Cinema Show...


    8. How many versions of the album have you bought / owned? (Vinyl, CD, Remaster, Cassette, SACD etc)

    My mother has the vinyl, bought in the 70's, and the cassette, bought in the 80's. They are still functional and in great shape !

    What is interesting about the Genesis cassettes is the complete mismatch between the songs and their title, on Selling and Nursery Crime. For years, I thought Salmacis was Giant Hogweed, and More Fool Me was Epping Forest, before learning English and being able to understand lyrics.


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    The order followed on the cassette is the regular one, identical to the vinyl, but the titles are totally wrong. Isn't it weird ?

    @hofflalu has started a thread about a video from Alex Ball's Youtube channel (about E-mu SP12 floppy discs from Genesis).

    There's another video about Tony's Roland JD800, that he used from 1991 to 1998.


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    What's interesting is that Alex demonstrates some sounds from certain songs that actually never got played on tour during this period. So, maybe it gives us a clue about what was actually rehearsed or at least suggested before the tours (WCD or CAS tours).

    I also find this video quite funny because of Alex's attempts to play Genesis songs without getting a copyright strike... :D

    I realise you said "it's like..." but I disagree with the notion of what a musician is "supposed" to be doing, other than that they're supposed to do what they feel like doing.

    Actually, I agree with you. While writing this post I was wondering "Should I write "musicians were supposed to", implied by some fans' POV, or rather "Some "old" fans expected them to sound like..."?" I finally chose the first option because it felt simpler to write, maybe I should have gone with the second and reformulate. :)

    EDIT : And you're right, I forgot Peter and his WOMAD stuff, for example...