Posts by StillCan'tDance

    Yes, there's two sides to Phil's career: the chart-busting imperial years of 1981 - 1989 and then the uneven period that started with Both Sides and ended with Going Back.

    Both Sides missed the mark with a lot of people. It was looked upon as an indulgent album that didn't break new ground. Following that, he left his wife during the Both Sides of The World tour and a lot of his fans deserted him (he'd unwittingly become housewifes' choice by this point, thanks to a slew of hit ballads that had little to do with the jazz fusion leanings of Droned or And So To F or the angry vitriol of I Don't Care Anymore or Inside Out).

    Dance Into The Light had a much welcome organic sound and saw genuine attempts to break out of the mould with, variously, African and something of a sixties vibe to some of the tunes. But there seemed to be something lacking.

    Of everything he did during this period, his big band tour and album was - for me - the most successful. It would have been a dignified and, dare I say, respectable way to round out his career.

    Don't think Mike is unfair here. He's got his view on things but in the end it all proves there's still a demand for the old Genesis classics.

    Well, Steve is really preaching to the converted isn't he? I mean, the only people who are going to see him are his fans and, without his solo albums having any significant impact on the mainstream charts (which is probably harder now than it ever was, given the how the market has changed so much in recent years) I can't imagine he's picked up many new fans during his career. So those fans are already well aware of his past with Genesis. I just think it's a sad indictment of his solo material that the old Genesis tunes now form such a major part of his performances.

    That said, I watched the video promo for Wolf Light the other day and if that song is indicative of his current solo material then it's small wonder he's not selling many records!

    If I want to hear old Genesis stuff, then I want to hear it being played by Genesis. In which case, I turn to my library of bootlegs or official live product from the band. Although I like what Phil has done with the Genesis material in concert - his Hot Night In Paris album being the best example of a reinterpretation of the material and Invisible Touch with the horn segment arranged by Harry Kim is brilliant - there's really only one way to listen to Genesis stuff...and it doesn't feature Danny La Rue on vocals!

    I was first introduced to his music through a sound engineer who was working on a pantomime* in which I was appearing. The album was Solid Air if I remember correctly. At first, I had no knowledge of the Phil Collins connection, only finding out about it when I read Phil's biography by the late Ray Coleman.

    Shortly after that, I was bought the Grace And Danger album, a sort of companion piece to Phil's Face Value.

    In some quarters, John is regarded as a folk artist. I find that a very limiting view. And I don't like folk music anyway.

    *The panto was Jack And The Beanstalk. I played Darth Vader. It's a long story.

    Testify has major strengths from wake up call, come with me, testify: great first three. I also adore 'the least you can do', and 'can't stop loving you' . The newish remaster has fab live tracks too and another John martyny 'tearing and breaking'.

    Additionally on a John Martyn extra there is a unique video featuring Phil on YouTube. 'Ways to cry'. I have watched this video many times recently and it just about sums up life for me.

    Yes, I have Tearing And Breaking on the Love Songs compilation. It's a great track as is Ways To Cry (love the video for that one). John Martyn and Phil were soul brothers. They connected around about the late seventies and the bond held fast and true until John's untimely death.

    I've seen Steve Hackett twice live and each time I was absolutely blown away.

    I saw him once - someone else bought the tickets or else, I have to say, I wouldn't have bothered. It was a small theatre and he walked through the crowd to get to the stage (this was during the time when he was sporting his dark glasses and, given that he's quite a low-key character, when he walked passed me I thought 'Who's this knob wearing dark glasses in a dimly lit theatre?').

    He played some stuff from his current album - Walking Away From Rainbows (I remember nothing of the tune, only the introduction where he mentioned leaving a situation that looks to everyone else like it might be perfect - could be a relationship, could be a band, cue a couple of knowing laughs from the crowd) and a tune about a vampire - and the obligatory Genesis tunes.

    Unlike you, I was far from 'absolutely blown away'.

    I think Mike is spot on. Steve left because he wanted a solo career but now he makes more money from coasting on past, shared glories rather then by playing his own stuff. Ever since he left Genesis, his publicity machine has exploited the fact that he was once in Genesis. Has Phil Collins ever done that? Or Peter Gabriel? No. I think that's quite telling.

    And bromleybruce, I'm sorry but you'll find that Steve didn't mould those Genesis songs at all. He was part of a collective; he was a contributor, and not ever a main one at that.

    Testify for me.

    Love the songs and production.

    That's interesting. At the time Testify came out, I really thought Phil had lost his mojo. With the exception of Can't Stop Loving You, which I thought was brilliant (but then, do we really want Phil covering songs by Leo Sayer?), the songs sounded very un-inspired to me. When I bought the re-mixed albums recently, I stopped at Dance Into The Light and consequently never heard what Nick Davis did with Testify. Maybe it's time I gave the album another go?

    it seems Genesis will always be the band its never 'cool' to like!

    So uncool, they're cool. I was there in 92 at Knebworth when Phil praised the crowd for having no cool people in it. What is cool anyway? And who decides who or what is and isn't cool?

    Genesis launched more solo careers than any other band. They had two distinctive front men and managed to be successful in two genres. At their peak they could play any sized venue in the world and be guaranteed a sell-out crowd. Personally, I think that's pretty cool.

    All Phil did was be successful. I've never been clear on why that should be a bad thing. Doesn't every artist want to be successful? He's a mainstream artist with a knack for saying things directly to the accompaniment of a pithy tune. Along the way, he has hired some top-hole musicians to help him realise his musical aspirations. Pretty impressive, as far as I'm concerned.

    I didn’t want to see them in a stadium.

    Playing stadiums was the only way of getting the most people to see them in one place. They could have done what they did in 92 where they performed an "encore tour" of smaller venues around Britain but Phil really didn't want to do any more than twenty European shows at the time they were planning dates for the tour.

    It was also a great experience, particularly Fading Lights live.

    I seem to remember there being a lot of talking amongst audience members during that song when I saw them at Leeds. It was a great moment, though, with the backdrop of twinkling stars while Phil sang and then the unbridled delight of seeing just the three of them up there (something which I don't think they'd done since the days of the Selling England tour when Banks, Collins and Rutherford would play the instrumental section of Cinema Show) bashing away during the instrumental.

    I saw them three times on the We Can't Dance tour (Roundhay Park, Knebworth Park and Earls Court), once on the Calling All Stations tour (Mancfester) and twice on the Turn It On Again tour (Dusseldorf and Mancfester). I wish I'd caught them at Wembley Stadium on the Invisible Touch tour.

    I wonder why Gabriel messes up his lyrics so often? Not being a follower of his shows, I wasn't aware of this failing. You'd think he'd be able to remember the words to his own blinking songs. Reminds me of Iron Maiden's singer Bruce Dickinson berating singers who use auto-prompters on stage; people pay an arm and a leg for tickets these days so it's a bit poor when the singer can't make the effort to get the words right.

    An epic start to the album. It has such a strong sense of atmosphere and Gabriel delivers the lyric with suitable angst. I seem to remember it appearing in an episode of Miami Vice (Michael Mann must have had a soft spot for the Genesis boys as the series featured a few tracks of Phil's and also Hanging By A Thread by The Mechanics).

    I can't think of another band that was so unsentimental with their older material

    They always said they preferred playing the stuff they'd just recorded. It was ever thus with Genesis. Of course, it helped that their fanbase seemed to get bigger with each new release so the band didn't have to rely on the old standards to keep the audience happy - not so with Yes, for example, who never seemed to find an audience for their new material after 90125 (a damn shame as albums such as The Ladder and Magnification are outstanding in my opinion).